When pondering the more than 50-year career of filmmaker and artist David Lynch (1946-2025), lightness is not the first thing that comes to mind. Who can forget the haunting suburban scene of Dennis Hopper breathing psychotically into a clear plastic gas mask before groping Isabella Rossellini in the ground-breaking 1980s neo-noir mystery film Blue Velvet? The human cruelty bestowed upon The Elephant Man or the bleak industrial trappings of Eraserhead – which put Lynch on the map in the late 1970s, and left an indelible mark on the industry. But the light – and creative possibility – that he discovered in Los Angeles, where he lived for over five decades, with the picturesque sprawling city and its underbelly as his muse and inspiration, undoubtedly informed his work. For Lynch, the city was ‘a feeling as much as it is a place’, according to Pace, which opens a show of his photographs at its Los Angeles gallery on 19 September.

Titled ‘David Lynch: LA’, the exhibition bridges the emotional and physical landscape between the myths and mysteries of the city and its archetypes – the ingenue, the shapeshifter, the beauty, and darkness. The artist’s blurred reality and surrealist slant in films and television projects, referred to as ‘Lynchian’, are also evident in this collection of photographs that spotlight his distinctive artistic sensibility in a medium that bridges his significant contributions to painting and film.

Lynch is credited for bringing experimentalism to mainstream media in the late 20th century, and was bestowed with a slew of prizes, including an Honorary Academy Award, a BAFTA, the Cannes Film Festival Best Director Award for Mulholland Drive (2001), and the Palm d’Or for Wild at Heart (1990), along with a Golden Globe for his 1990s television series Twin Peaks.

Lynch, born in Missoula, Montana in 1946, moved to Los Angeles in 1972 as a fellow at The American Film Institute, where he set up a studio in the stables at the Greystone Mansion campus in Beverly Hills for four years. Over the years, Lynch also worked as an animator, an author, a furniture designer, and a musician. His talents spanned directing music videos for Moby and Nine Inch Nails, and commercials for Dior, Gucci and Yves Saint Laurent. His acting roles include playing film director John Ford in Steven Spielberg's drama film The Fabelmans, in 2022.

Because of all his moving-image accolades, many film fans don’t realise that Lynch actually wanted to be a painter. Before his move to LA, he was influenced by Francis Bacon while an art student at the Pennsylvania Academy of the Fine Arts in Philadelphia, when he began creating short films out of a desire to effect movement in his paintings.

‘David Lynch had an incredibly rich and sustained art practice that began in childhood, continued through art school in the 1960s, and remained an essential part of his life for nearly 60 years,’ says Genevieve Day, senior director at Pace in Los Angeles.

With past exhibitions from the artist spanning other globally recognised galleries in Tokyo, London, Paris, Milan and Moscow, Lynch joined Pace in 2022, marking his debut with the solo exhibition ‘Big Bongo Night’ in New York, featuring mixed-media sculptures, paintings, and a work on paper.

Now, it felt important for Pace to honour the commitment Lynch devoted to this practice, and to have this new show take place in his chosen home since 1972. ‘This exhibition, focusing specifically on Lynch’s photo-based work, is a prelude to a much broader retrospective that LACMA is in the early stages of preparing,’ says Day.

This continues the thread of Los Angeles, which became a defining presence in Lynch’s imagination. ‘It traces the atmospheric feeling of the city through his early 1979 black and white “portraits” of the distinctive architecture of Los Angeles, to his continued study of the nude, in which the female body becomes abstracted and visually topographical,’ says Day. ‘Later, he digitally manipulated his photographs, creating a contemporary odalisque – the reclining figure of art-historical tradition. The five large-scale colour photographs of women and smoke expand on this idea of the surreal, vivid in our imagination. Each work has a distinctive quality, but together reveal Lynch’s broader vision.’

As seen in the provocative red lips with a wafting cloud of smoke, Lynch captures these images as a moment of ecstasy. In stark contrast, smoke is also seen as a plume rising from a drab 1950s-style sofa with chintz floral drapery in the background. Ironically, Lynch was a lifelong chain smoker, and, already suffering from emphysema, he died in 2025 following evacuation during the devastating Southern California wildfires that swept through the city that same year.

In the many years that Pace has been involved with Lynch and his artwork – most recently with two 2026 group exhibitions in Berlin – there are still surprises to uncover. ‘Like the best artists, there is a mystery in his work that becomes both illuminating and more confounding the more closely you look,’ says Day. ‘He was a storyteller – some images are overt, while others are much more enigmatic, leaving space for the viewer to create their own narrative.

‘I hope people come away with a deeper understanding of David Lynch as a visual artist,’ adds Day. ‘His photography was only one aspect of his immense creative practice as an artist whose vision found expression across many different mediums.’

‘David Lynch: LA ’at Pace Los Angeles, 1201 South La Brea Avenue, 19 September – 24 October 2026

pacegallery.com

Although best known as a filmmaker, David Lynch (1946-2025) considered himself first and foremost a visual artist. In the late 1960s, he studied painting at the Pennsylvania Academy of the Fine Arts, Philadelphia, where he created his first ‘moving painting’, Six Men Getting Sick (Six Times). Merging mediums and materials, it offered an early hint of the experimentation that was to define his career.

Throughout his life, Lynch went on to create sculptures, watercolours, film, photographs and paintings, many of which are to be united in an exhibition at Pace Gallery, Berlin. Opening on 29 January 2026, it is a teaser for a major retrospective set to open at Pace, Los Angeles this autumn. The exhibition follows rare but significant showings of Lynch’s art, including 2007’s ‘The Air Is on Fire’ at Fondation Cartier in Paris and 2018’s ‘Someone Is in My House’ at the Bonnefanten Museum in Maastricht, featuring more than 500 works.

Works here include the ‘factory’ series of photographs that Lynch took at deserted industrial sites in Berlin in 1999, which captured an evocative and empty world of broken windows, chimneys and machinery. Their beauty sits alongside his unsettling paintings, which intertwine surrealist themes with text and open-ended images. His watercolours, in his distinctive muted palette splashed with reds and yellows, are presented in the frames Lynch designed himself.

Elsewhere, upright lamp sculptures built from steel, resin, Plexiglas, plaster, and wood add to the atmosphere of finding beauty in the unexpected, much like Lynch himself.

Pace Gallery in Berlin presents work by David Lynch from 29 January to 22 March 2026, pacegallery.com

David Lynch, the visionary American filmmaker behind Twin Peaks, Blue Velvet and Mulholland Dr, passed away this January, yet his creative universe endures in objects, spaces and ideas.

Among the most striking of these relics is his larger-than-life, meticulously designed Hollywood Hills home; a cinematic setting in its own right. Perched on a sweeping 2.3-acre hillside, David Lynch’s private compound, which is now listed for $15 million by Marc Silver of The Agency, unfolds like one of his own intricately plotted storylines. A showcase of Mid-Century modern architecture, the estate was conceived with the same care and cinematic precision that defined his work.

Inside David Lynch's Los Angeles estate

The property, set across five contiguous parcels, reads like a storyboard in relief: three main residences and several ancillary structures stepping down the hillside, each capturing a different note in Lynch’s creative oeuvre.

The story behind this compound started in 1987, when he acquired the pink-hued Beverly Johnson House designed in the early 1960s by Lloyd Wright, son of Frank Lloyd Wright. The home, in fact, was recognised by Historic Places LA as an exemplary work of Mid-Century Modern residential design. Then in 1991, he commissioned Eric Lloyd Wright (Lloyd Wright’s son) to add a pool and pool house, extending the Wright imprint on his property with a new generation.

Across the years, Lynch kept expanding the plotline: in 1989, he purchased an adjoining two-bedroom Brutalist house; in 1995, a studio building; and later, more pieces of land, ultimately shaping a seven-structure sanctuary with 10 bedrooms and 11 bathrooms spread over roughly 11,000 square feet. The result was a creative campus perched above the city.

At the heart of the compound lies the architectural crescendo – the approximately 2,000 square feet home where light pours through generous windows and skylights to rake across organic textures and bold geometries. The facade’s cement chevrons catch the sun; inside, simple metalwork and natural woods are drenched in material honesty that often surfaced in Lynch’s films.

Two neighbouring addresses deepen the lore: 7029 Senalda served as the home of Asymmetrical Productions, while 7035 Senalda attained near-mythic status as both the Madison residence in the movie Lost Highway and Lynch’s own studio, complete with a library, screening room and editing suite – spaces where he refined major works, including Mulholland Drive.

Beyond the exemplary structures, Lynch left a personal handprint, collaborating on additional buildings: a sculptural two-storey guest house and a one-bedroom retreat finished in his favoured smooth grey plaster. Outdoors the terraces, courtyards and planted walkways offer a counterpoint to the intensity of production and everyday life.

As a listing note from The Agency suggests, this is a 'creative sanctuary and architectural landmark,' with provenance unlike any other in Los Angeles. For admirers of Lynch, it reads as both home and archive: a lived-in factory of ideas, meticulously composed and, at last, ready for its next act.

In David Lynch’s Blue Velvet (1986) Bobby Vinton’s voice croons: ‘She wore blue velvet, bluer than velvet were her eyes’, while a dog skips around a man lying on the ground, still holding onto his garden hose, and suffering an apparent cardiac event. It signals that all is not well behind the white picket fence and forewarns of the dangerous lure of the colour blue. It’s a shade that crops up again and again throughout the unsettling 120-minute-long film, including on the eyelids of its leading lady Isabella Rossellini, playing the beautiful lounge singer Dorothy Vallens.

‘When I read the script, there was a description of Dorothy with red lips, and I thought the blue tied in nicely with Blue Velvet – which also transcended into her clothes and blue velvet robe,’ said make-up designer for the film Jeff Goodwin in a 2015 interview with Lisa Eldridge. Goodwin explains that he had to mix various shades of lipstick and eyeshadow to achieve ‘the exact tones’ he was after, including two eyeshadows from Lancômeand one from La Femme Cosmetics, a brand that has supplied products to Hollywood since 1950). Goodwin had done just one make-up test when David Lynch told him that he’d nailed the look. (He’d based Dorothy Vallens’ make-up on another Lynch character from his 1977 feature-length debut Eraserhead, known as the ‘Beautiful Girl Across the Hall’).

How the use of make-up enhanced David Lynch's storytelling

Vallens’ make-up channels a mature glamour and sophistication that sits at odds with Laura Dern’s blonde-haired and rosy-cheeked girl-next-door Sandy. The ‘brunette-blonde’ dynamic is a recurring theme throughout Lynch’s work, as are doppelgangers and duplicates, with make-up and wigs the conduit for the slipstream into new identities. Patricia Arquette demonstrates both of these Lynchian tropes in Lost Highway (1997), playing both Renee Madison and Alice Wakefield. Debbie Zoller, the make-up artist working with Arquette, responded to a fan’s enquiry via an Instagram comment, asking how she achieved ‘blonde Patricia’s’ frosty metallic look. Zoller’s reply says that she recalls products from Mac and Stila being in her possession.

Zoller would later go on to shapeshift Kyle MacLachlan, reprising the role of Agent Cooper, into the detective’s ‘dark’ doppelganger Mr C in Twin Peaks: The Return (2017), experimenting with fake tan, teeth staining and black contact lenses. MacLachlan said that Mr C’s hair, devised by Clare M. Corsick, reminded him of the wig worn by Javier Bardem as Anton Chigurh in the Coen Brothers’ No Country for Old Men (2007).

‘You look like someone else,’ Naomi Watts’ Betty tells Laura Harring’s Rita in Mulholland Drive (2001), as Rita dons a blonde wig with a striking resemblance to Betty’s hairdo; an attempt at disguise as she hides herself from those she believes are looking to hunt her down. A short while later, it is revealed that both of them are someone else: Betty is no longer the sweet and naive aspiring ingenue, nor is Rita deeply wounded; but down-on-her-luck Diane and it-girl actress Camille, respectively.

Even when wigs are merely referenced, they reveal as much as they might conceal. ‘My friend Niko who lives in Pomona has a blonde wig. She wears it at parties but she is on hard drugs and turning tricks now,’ says one of the characters living on the streets in Inland Empire (2006), as Laura Dern’s Nikki Grace lays bleeding beside them. This scene turns out to be taking place on a movie set, the cameras panning back to show a film crew.

A ‘movie within a movie’ is another cinematic motif that David Lynch used repeatedly throughout the universe he created, where things are never what they seem. The aesthetics of ‘glamour’ very often act as a smokescreen, concealing something sinister. ‘I learned that just beneath the surface there’s another world, and still different worlds as you dig deeper,’ he once said. ‘I knew it as a kid, but I couldn’t find the proof. It was just a kind of feeling. There is goodness in blue skies and flowers, but another force – a wild pain and decay – also accompanies everything.’

And while darkness often lurks beneath a lacquered veneer in Lynch’s work – just as the pristine roses and white picket fences of Blue Velvet obscure the often disturbing nature of American suburbia – make-up becomes a demonstrative device for a character’s innermost turmoil bubbling to the surface, becoming writ large across the faces of Lynch’s cast members. When Marietta, played by Diane Ladd in Wild at Heart (1990), compulsively covers her body in red lipstick – starting at the wrist in a gesture of self-injury before turning glistening red all over her face, neck and hand – her guilt becomes emotively visible. Musician Sky Sky Ferreira’s appearance as the troubled Ella in Twin Peaks: The Return sees her with smudged panda eyes and covered in sores and scratches – a visual manifestation of what we discover is a chaotic home life.

It’s the moments of sheer terror in the work of David Lynch where make-up, and particularly the use of practical effects and prosthetics, come into their own. The confronting, nightmarish moment when ‘The Bum’ in Mulholland Drive appears during the infamous diner scene, is made all the scarier via the use of real dirt, moss, oatmeal and steel wool. ‘They said I was going to be a character called The Bum, and it was going to be a bunch of special effects,’ actor Bonnie Aarons who played the role told Vulture in 2014. ‘They were gonna make a mask, but [Lynch] says, “No! I don’t want any of that. I want to see every bone structure, I want to see the green eyes.” So he had them put it [dirt, moss, oatmeal and steel wool] on with a tweezer. It took over 12 hours.’

Here, Aarons was also asked whether Lynch directed her to pull different expressions for different takes. But, she explained to Vulture, what you see in the final cut is her swooning over Lynch. ‘I did a couple [takes], and he’s sitting there with me, and he says, “No. Nothing like that at all.” And, ya know, David Lynch is hot, and I’m looking at him all dreamy-eyed, and he says to me, ‘That’s it: the look, Bonnie!”’.

The way Lynch infused such a character with humanity – and love, even – echoes the message of The Elephant Man (1980), the story of real-life artist Joseph Merrick, played by John Hurt. Where people are both fascinated and frightened by Merrick’s appearance, audiences are confronted with the actions of those who treat him poorly, who won’t see him as he cries out to be seen: ‘I am not an elephant! I am not an animal! I am a human being! I am a man!’ While The Elephant Man received eight Oscar nominations, there was outrage at the fact the prosthetic design by make-up lead Christopher Tucker (based on casts of Merrick’s body) had not been recognised. As a result, a new Academy Award category for Best Make-Up was instated at the following award ceremony in 1981.

Jeff Goodwin also recalled creating the prosthetic severed ear for Blue Velvet in his conversation with Lisa Eldridge, using silicone to make the ear look like it was ‘wiggling’ and even glueing some of David Lynch’s actual hair to the prop. ‘Barbara Page, the hair stylist on the film, gave David a haircut in his trailer and I swept it up and used a little bit for the ear (without telling him),’ he said.

The make-up artist attests to the camaraderie that Lynch was notorious for fostering on set. ‘David and I called it Mr Ear and we really treated the ear like a character in the film, because it’s so key to the storyline,’ he continued. After the director’s passing last week (15 January 2025) Goodwin shared a tribute to his Instagram account: ‘Cinema lost one of the greatest artists today. Rest well David. You were my favorite [sic] director that I had the privilege to work with.’ A sentiment that seems universally shared by those who met him and even those who didn’t.

David Lynch, the unparalleled visionary behind canonical films such as Blue Velvet (1986), Wild At Heart (1990) and Mulholland Drive (2001), passed away this week (15 January 2025) at the age of 78. On Wallpaper.com, we pay tribute to the auteur by remembering his guest editorship at the magazine in October 2010.

Craig McClean has also written an obituary, recalling an anecdote from his meeting with Lynch: ‘That morning, we sat in the concrete cube that was this multidisciplinary artist’s painting studio, one of a series of similar structures slotted into the Hollywood Hills that comprised his home with his fourth wife, the actress Emily Stofle,’ he says. ‘We were, of course, drinking coffee,’ McClean continues. ‘And yes, it was damn fine, not least because it was a cup of David Lynch Signature Cup Organic House Roast (signature notes, according to my genial and welcoming barista from beneath a shock of silver quiff, ‘sweetness, smoothness, no bitterness even if it’s just pure, straight black espresso, packed with flavour’).

Lynch directed a four-minute-long commercial for his namesake coffee brand in 2011, featuring a close-up shot of a Barbie head held between his fingers. 20 years prior, he created a Twin Peaks-inspired series of adverts for the Japanese brand Georgia Coffee, featuring cast members from the TV series including Kyle MacLachlan as Agent Dale Cooper, Mädchen Amick as Shelley Johnson and Catherine E Coulson as the Log Lady.

Clearblue pregnancy tests and Alka-Selzer antacid tablets; Parisienne cigarettes and the PlayStation. These are just a few more products Lynch had a hand in marketing via short commercials. But here, Wallpaper* reflects on the times Lynch turned his signature surrealist lens to perfume advertisements for Calvin Klein, Giorgio Armani, Lancôme, Jil Sander, Karl Lagerfeld, Dior and Gucci.

David Lynch’s dreamlike perfume commercials

Calvin Klein (1988)

Following on from the acclaim of Blue Velvet, David Lynch was commissioned to produce his first-ever commercial by Calvin Klein for its fragrance Obsession. Released in 1988 as a series of four black and white shorts titled Awake, Dangerous, Explore and Kissed, each tells the stories of four pairs of lovers (one of which is played by Heather Graham and Benicio Del Toro). Every film was inspired by a different novelist – Ernest Hemingway, D.H. Lawrence, Gustave Flaubert and F. Scott Fitzgerald – and included a voiceover reading excerpts from their writing.

Giorgio Armani (1992)

Giorgio Armani selected David Lynch to create the campaign film for his 1992 fragrance Giò. According to lynchnet.com, Mr Armani ‘personally’ phoned up the director asking for a concept, which Lynch then sent to him in the form of a short poem. The resulting advert Who is Giò? is a Lynchian neo-noir, with model Lara Harris playing a mysterious femme fatale flitting in and out of parties and around the backstreets of an unnamed city, as the paparazzi follows her trail.

Yves Saint Laurent (1992)

Giorgio Armani wasn’t the only designer seeking the talents of Lynch, with Yves Saint Laurent calling on him to dream up a commercial telling the story of the best-selling house fragrance, Opium. This time using colour - alongside his quintessentially dream-like dissolves and double exposures - a woman in a gold dress, with long red fingernails complimenting the perfume’s lacquered bottle, ascends the stairs to an apartment. Upon applying Opium to the nape of her neck, she is overcome with ecstasy.

Lancôme (1993)

Isabella Rossellini became the face of Lancôme in 1982. She would meet David Lynch a few years later during the casting process for Blue Velvet, where he remarked on her uncanny resemblance to Ingrid Bergman (not knowing that Bergman was her mother). Rossellini and Lynch entered into a relationship, with Rossellini also playing the role of Perdita Durango in Wild at Heart alongside a cast that included Nicholas Cage, Laura Dern and Willem Dafoe. Although parting ways romantically in 1991, they remained life-long friends and collaborators, with Lynch capturing Rossellini on film once more in 1993 for Lancôme’s fragrance commercial for Trésor.

Jil Sander (1993)

The Instinct of Life, David Lynch’s 1993 campaign film for Jil Sander’s now-discontinued fragrance Background, is set in a vast, arid landscape. Amidst smoke machines and vivid coloured lighting, a lone protagonist chases a black panther throughout the night, ultimately befriending the animal as the sun rises. It seems as though Lynch was trying out techniques for Lost Highway (1997), which was shot in California at Silurian Dry Lake in the Mojave Desert. (Lynch once said in a 1999 interview with Movieline that he liked to take on commercial work to ‘learn about the latest technology, tools that normally wouldn’t be available to me’ for later use in feature-length films).

Karl Lagerfeld (1994)

Daryl Hannah never worked with Lynch on any of his feature films. However, she did collaborate with the director as the 1994 face of Sun Moon Stars, a fragrance by Karl Lagerfeld created by the designer for his namesake brand. In the commercial, Hannah assumes a role reminiscent of the Marilyn Monroe-esque ‘Hollywood blonde’, a character trope so often used by Lynch. Here, the actor is seen in a dream-like state, swathed in lilac silk and floating around a cosmic backdrop as she longingly muses on the solar system.

Dior (2004)

In 2004, during his tenure as the director of menswear at Dior, Hedi Slimane tapped David Lynch to direct the fragrance commercial for Fahrenheit. Set to a snippet of As Falls Wichita, So Falls Wichita Falls , a 20-minute-long jazz fusion track, Swedish actor Andreas Wilson is seen hurtling upward in a clinical chrome elevator as he begins to hallucinate, seeing visions of the natural world. When Wilson reaches the destination floor the doors open, revealing a heavenly expanse of orange sky. (Slimane’s long-time collaborator on make-up for campaigns and shows Aaron de Mey posted a tribute to Lynch on his Instagram, remembering this campaign shoot).

Gucci (2009)

David Lynch filmed his last perfume commercial in 2008 for Gucci (which also happened to by the first television ad for the Italian house). It starred models Raquel Zimmermann, Natasha Poly and Freja Beha Erichsen as the faces of new fragrance Gucci by Gucci. Above, watch the commercial in full, which was filmed in Paris and set to Heart of Glass by Blondie. Below, find a BTS look at the making of the campaign, which provides an intimate glimpse of the maestro at work and the uplifting atmosphere he cultivated on set. (He said in a 2017 interview with GQ that he never ran a working environment on fear). Highlights include Lynch smoking as he perfects a shot of cascading glitter and at a wrap party with the cast and crew – a moment in which their feeling of love and admiration for the director is palpable.

David Lynch was talking to me – at some length – about teeth. ‘I don’t know where it was I got so interested in teeth and dental instruments and drilling and the idea of drilling,’ the director – who has died aged 78, after being diagnosed with emphysema last summer – told me, ‘and then nerves, and different dimensions of a tooth, the roots…’

It was 2011. The previous year, the filmmaker had guest-edited the October 2010 issue of Wallpaper*. Lynch used the magazine as a platform to promote Transcendental Meditation, one of his myriad interests away from directing films – the latter something he hadn’t done since 2006’s Inland Empire. As it turned out, it was something he would never do again, although he would get behind the drama camera one more time, for 2017’s Twin Peaks, a long-awaited and suitably deliciously divisive, 18-episode third-season follow-up to his hallowed, hallucinatory early 1990s TV show and film. And he would appear in front of another director’s camera, in a secret cameo, as John Ford in Steven Spielberg’s The Fabelmans (2022).

‘Transcendental Meditation underpins what I do, but it serves the work rather than dictates it,’ Lynch told interviewer Will Hodgkinson in a profile accompanying his gig at the mag. ‘The point is that everyone has consciousness but not the same amount. It strikes me as rather absurd to go through life with the same level of consciousness you came in with when there is a technique to expand it, and that technique is easy, effortless and supremely profound.‘

True to consciousness-stretching, truth-seeking form, Lynch also used his guest editorship to showcase a series of symbols that he’d illustrated – across a 16-page gatefold in the magazine – to, as we noted at the time, ‘represent unity in various religions and cultures’. There was, though, a full disclosure note from the editors, one acknowledging the sense-scrambling opaqueness that could attend Lynch’s work, in whatever medium: ‘Lynch uses a great deal of symbolism in his movies, but much of it is often lost on the average viewer, so, after an afternoon with our ancient texts, we attempt to explain what it all means…’

With creative and philosophical interests as horizon-wide as his, it was natural that Lynch repeatedly found a welcoming home in the pages of Wallpaper*. Also in 2010, we covered his exhibition ‘Darkened Room’, at Comme des Garçons' Six gallery in Osaka, at which the director paired 12 of his short films with a series of his paintings. Last year, Wallpaper* featured the installation ‘Interiors by David Lynch. A Thinking Room’ at Milan’s Salone del Mobile 2024, the director's debut at the furniture fair.

‘A few years earlier I presented Lynch the lifetime achievement award at the Rome Film Festival,’ explained Antonio Monda, the curator of the latter, ‘and when I visited him in Los Angeles I found him polishing a desk. I asked him, what are you doing? And he told me he designs furniture now,’ added Monda. ‘So when the Salone del Mobile invited me to commission a filmmaker for this special event, I knew he was the real deal.’

The surreal deal: that, too, was David Lynch. Born in Montana in 1946 and raised all over the US on account of his father’s work as a research scientist for the Department of Agriculture, he studied painting at Washington’s Corcoran School of the Arts and Design, Boston’s School of the Museum of Fine Arts and the Pennsylvania Academy of Fine Arts. But in 1967, while studying in Philadelphia, he made his first short film, an experimental animation Six Men Getting Sick (Six Times). It would be untrue to say he never looked back – Lynch would repeatedly return to painting, and turn sideways to other visual forms – but filmmaking became a focus.

Three years later he moved to Los Angeles to study at the American Film Institute Conservatory. While there he began work on the film that would, eventually, become his debut feature, Eraserhead (1977). A bold body horror that he wrote, directed, produced, edited and scored, the low-budget flick became a beloved staple on the underground and late-night-movie circuits for years thereafter.

Eraserhead launched Lynch’s filmmaking career – but, true to what would become lifelong form, in a wildly unpredictable manner. His second film was The Elephant Man. A true story about Joseph Merrick, a severely disfigured man in Victorian London, starring an obviously unrecognisable John Hurt, on paper the surrealist black and white film was no one’s idea of a hit movie. Yet the 1980 feature was a critical and commercial smash, and earned eight Oscar nominations, including Best Picture, Best Director, Best Adapted Screenplay and Best Actor.

Then, another zig-zag: four decades ahead of Denis Villeneuve’s staggeringly more successful adaptation, the now-fabled misfire that was Lynch’s adaptation of Frank Herbert’s Dune (1984). But he more than atoned for Sting’s codpiece two years later with Blue Velvet. It was a neo-noir psychological thriller that set the ‘Lynchian’ non-template template and remains truly iconic on every level: the plot (the student, the femme fatale lounge singer and the psychopathic gangster…) the imagery (the ear! The gas-mask!), the casting (Kyle MacLachlan, Isabella Rossellini, Dennis Hopper, Laura Dern), the production design, the score, the titular theme song…

Talking to me 14 years ago, Lynch told me that, initially, he was no fan of ‘Blue Velvet’ in its original, 1951 incarnation, as sung by Tony Bennet. ‘I didn’t like that song! It was OK – but it wasn’t like rock’n’roll, it wasn’t something that drove me crazy. Then some years pass and I’m somewhere, and I hear Bobby Vinton’s version of “Blue Velvet”,’ he says of the now-definitive 1963 take. ‘And woah. I see night and green lawns. Red lips and a car. And I just start dreaming. That started the whole thing.‘

Music, then, was the inciting force for the movie that remains, arguably, the cornerstone of a filmography that would ultimately see Lynch awarded the Venice Film Festival’s 2006 Golden Lion for Lifetime Achievement and an Honorary Academy Award (2019). It was also the reason I was invited into his LA home in 2011.

That morning, we sat in the concrete cube that was this multidisciplinary artist’s painting studio, one of a series of similar structures slotted into the Hollywood Hills that comprised his home with his fourth wife, the actress Emily Stofle. We were, of course, drinking coffee. And yes, it was damn fine, not least because it was a cup of David Lynch Signature Cup Organic House Roast (signature notes, according to my genial and welcoming barista from beneath a shock of silver quiff, ‘sweetness, smoothness, no bitterness even if it’s just pure, straight black espresso, packed with flavour’).

But we were talking, at length, about teeth.

‘I love the shape of a tooth, when you pull ’em out,’ Lynch continued in something like a Proustian reverie. ‘They’re little hard rocks that grow uniquely next to something soft, the tongue. I mean!’ he exclaimed excitably, ‘it’s incredible!’ The reasons for his interest in matters dental stretched backwards and forwards. Firstly, he was recalling an image of a facially disfigured man, taken from a book called Dental Hygiene, Dental Applications and Oral Pathology, and repurposed for the cover of the script for his 1997 film Lost Highway. Secondly, he was musing on the lyrical inspiration for a track on what was another whiplash left-turn for a filmmaker revered for a career-long dedication to travelling down his own lost highway.

At the age of 65, Lynch had made a dance(ish) album. Certainly, it had a title – Crazy Clown Time – that readily suggested another twisted celluloid fever dream, one that fitted David Foster Wallace’s definition of ‘Lynchian’: ‘A particular kind of irony where the very macabre and the very mundane combine in such a way as to reveal the former’s perpetual containment within the latter.’ This, after all, was an auteur revered for movies – his perfectly imperfect ten-strong filmography also includes Wild at Heart, The Straight Story and Mulholland Drive – reliably underpinned by an implicit Director’s Message: ‘Are you sitting uncomfortably?’

But Crazy Clown Time was no gothic horrorshow. It was being released on Sunday Best, the UK dance label co-founded by DJ Rob Da Bank. The first single, ‘Good Day Today’, was already receiving love in the clubs of Ibiza. Lynch was taking part in a conversation for that year’s International Music Summit, an annual electronic music culture conference held on the White Isle. That said: the song on the album that seemed to interest him most was no dancefloor-igniting banger. ‘Strange and Unproductive Thinking’ was a seven-a-half-minute ambient track with a throbbing rhythm and vocals from Lynch, a spoken-word lecture delivered via vocoder: ‘Teeth, while not necessarily considered one of the primary building blocks of happiness, can in fact become a small sore, festering and transferring negative energies to the once quiet and peaceful mind.’ Altogether now: ‘The hideous odours emitted from the oral cavity…’ Put your hands in the air like you don’t care!

This, in 2011, was where David Lynch found himself, and happily so: making genre-blurring music, promoting Transcendental Meditation, painting canvases and musing wildly. Still, though, I wondered: why hadn’t he made a movie since Inland Empire five years previously? His reply came swiftly. ‘I haven’t got an idea that thrills my soul to go and do it. And that still remains the case. Also… say the film industry is a hot-rod car. And it was going about 120 miles an hour, straight down a road. But about five or seven years ago, it hit a little bump. And for some reason skipped over into the gravel. And it’s been in bushes-flying spin [ever since], and it hasn’t stopped yet.’ Lynch sipped his coffee, smiled and shrugged. ‘So that’s the way I feel.’ It would, ultimately – and, for cineastes, tragically – remain the way he felt.

As the world mourns David Lynch, who died on 16 January 2025, aged 78, we look back on the time he joined us as Guest Editor of Wallpaper*. The following interview was first published in the October 2010 issue of Wallpaper* magazine.

You'd be forgiven for thinking that David Lynch, renowned for disturbing tales from the dark side, is a tortured soul. Quite the opposite. The maverick film director has dedicated the last three decades to to the pursuit of happiness and inner peace.

High up in the Hollywood Hills, David Lynch has an artist's studio that looks out over the smog-cloaked city below. It's at the tip of his large but distinctly discreet 1960s-built house (everything about the plain stone walls and unkempt yard screams ‘don't notice me’) that contains a recording studio and screening room, various cell-like halls housing Lynch's paintings and, presumably, a bedroom or two somewhere.

Getting to the studio involves leaving the main building and walking up tiny stone steps flanked by scrubby Californian palms. Inside the studio, Lynch sits, smiling benignly, in front of a large desk buried under oil paints, papers, books and a piece of wood with the words 'I love you' etched in a childish scrawl.

Lynch, now 64, is one of the few film directors in the world with his own, iconic look. When we think of Blue Velvet, Mulholland Drive and the world's first hit surrealist TV series Twin Peaks, all of them concerned with peeling off the twisted layers of life that lie underneath a seemingly calm and ordered surface, we think of the man with the towering quiff and buttoned-up shirt that made them.

And David Lynch is perhaps the only film director with an aversion to talking about his own work, but an endless enthusiasm for the guiding principle of his life since 1973: transcendental meditation.

'Transcendental meditation underpins what I do, but it serves the work rather than dictates it,' he says in a slow, considered rhythm as he slouches in his chair, smoking one cigarette after another and tossing the butts onto the concrete floor of the studio. 'The point is that everyone has consciousness but not the same amount. It strikes me as rather absurd to go through life with the same level of consciousness you came in with when there is a technique to expand it, and that technique is easy, effortless and supremely profound.'

The technique, of course, is the ancient mantra-based system brought over to the West by the Maharishi Mahesh Yogi in 1957 and which subsequently attracted such high-profile adherents as the Beatles, Mia Farrow, Jerry Seinfeld, Sheryl Crow and Def Jam founder Russell Simmons.

'It takes you to the field of unity, first time, every time,' Lynch claims of transcendental meditation. 'And when a human being really and truly experiences that...' he makes the sound and gesture of a muted explosion.

This is where Lynch's guest spot at Wallpaper* comes in. Initially sceptical at the proposition of adding magazine editor to a CV that includes film director, painter, musician, worldwide lecturer on transcendental meditation and coffee salesman (he's got his own eponymous brand), Lynch came round to the idea of using the magazine as a canvas for a series of painting that underpin what he considered to be the great goal of all human life: unity. In the past, Lynch has acknowledged the influence of such psychologically multi-layered artists as Francis Bacon, Jackson Pollock and Edward Hopper. For this project, he is aiming to project images of absolute simplicity and spiritual purity.

'I can't talk about these symbols of unity because the symbols speak for themselves', states Lynch, a phrase to chill the heart of any interviewer, before, thankfully, adding: 'These are ancient things, from many cultures, and they're beautiful to look at because the field of unity is at the base of all matter and mind. It's an eternal field, always the same, always full. Unity is the home of total knowledge and all the laws of nature.'

To put this metaphysical statement into manifest form, Lynch summons up from his computer a scientific equation for unity. It's extremely complex. I can't begin to pretend to understand it , and I'm not entirely sure Lynch does either, but in essence it gives a mathematical explanation to the higher state of consciousness that Lynch is on a mission to share with the world.

'The whole purpose of understanding unity is to expand happiness, which is not a bad thing,' he says. 'Transcendental meditation will get you to that field of unity, that state of infinite consciousness. Consciousness is tied in with intelligence, creativity, happiness, love, energy, power, peace... all positive things. That's why I want to talk about them.'

It might come as a surprise that the man associated with exposing the dark recesses of the psyche has dedicated his life to the search for spiritual peace.

Lynch, who has meditated twice a day, every day, for over three decades, sees no contradiction between making noir masterpieces like Blue Velvet – which starts with the discovery of a severed ear in a field and gets increasingly sinister from then on – and spreading the Maharishi's message of love.

'I make things that are troublesome,' explains Lynch. 'That's because my ideas come from our world, and our world has negativity and absurdities. I love absurdities. I fall in love with ideas for two reasons: firstly for the idea itself and secondly for what cinema could do to it. In the old days I had plenty of ideas, but there was hollowness in the happiness department and many worries. Negativity restricts the flow of creativity, and suffering is not the friend of creativity.'

But isn't suffering the very bedrock of artistic inspiration? 'Baloney,' booms Lynch, sounding like James Stewart in the midst of regression therapy. 'That myth started, I think, in France. I love the French, but the starving artist in the garret image is absurd. It's romantic to be hungry and poor if you're a man because that means chicks will want to look after you. But if you're starving, dirt poor and shivering, you're not going to enjoy any kind of work, even if you are able to do it. Suffering doesn't bring ideas. If it did, we could just hit someone with a mallet and an idea would pop out. People on chain gangs would be the greatest artists in the world. "Please let me go on that chain gang!" budding artists would cry.'

Lynch's assistant, who has possibly been briefed to come in and terminate the interview, pops her head around the door. But he's in full flow, so he sends her off to make some more coffee, albeit in a polite, calm way. Further talk of the importance of finding happiness through inner peace rather than material accumulation leads Lynch to explaining how great ideas come to him in the first place.

'Films start with a fragment, a piece of the puzzle,' he explains. 'The puzzle exists in the other room. I get hold of one piece, and I love it so much that it attracts other pieces to come in and join it. And pretty soon the puzzle is in my room. I certainly don't know what the film is about until further down the line.'

He cites the example of his 1976 breakthrough feature Eraserhead, an impressionistic portrait of a shy young man trapped in a nightmarish industrial town as he faces up to the birth of his bizarrely deformed, screaming child.

'I didn't know what Eraserhead was about. Then I was reading the Bible and I came upon a sentence and my head was blown off.' Whatever that sentence was, Lynch isn't saying. 'The point is that these things come later. A lot of people say: "I want to do a film about a certain thing." For me, it's not that way.'

Even if the idea comes from a piece of writing already out there, Lynch sees the process as the same. 'Books and scripts are ideas in organised form,' he says. 'There isn't a difference between an original idea and getting excited by a book or a script because it involves the same process of falling in love with the thing. Wild at Heart was a novel by Barry Gifford, and when you read a great book it comes alive in your head, just like catching an original idea. You see it all, and then you just have to turn it into a film.'

Lynch's last film was the supernatural mystery thriller Inland Empire, released in 2006. Since then he has presented a series of short, touchingly direct profiles on everyday Americans called Interview Project, which share the innocence and guileless charm of The Straight Story, Lynch's 1999 road movie about an elderly man riding a lawnmower from Iowa to Wisconsin to mend his relationship with his sick, estranged brother. He has also been painting, working with wood, and giving lectures on transcendental meditation. Given the evangelical zeal Lynch has for transcendental meditation – he's never more animated than when describing the remarkable calming effects it has had on violent prisoners and children diagnosed with ADD – it's tempting to believe that this has taken precedence over moviemaking. Lynch refutes this.

'I love to work,' he says emphatically. 'I like to stay at home. I don't like to talk in public and I don't like to travel. When I was asked to do a tour of 13 universities and talk about transcendental meditation, I thought: well, that's the end of my career. Nobody will want to hear this. And sure enough, not everybody did. But people are like detectives: they sense whether things are true or false pretty fast and for so many people this sounded true. It felt good to get that message out there.'

It's almost time for Wallpaper* to take a taxi back down the hill, to the world of concrete and frantic optimism that is West Hollywood. We know this because Lynch's assistant has arrived in the studio with a banana on a plate, which appears to be some sort of termination symbol. But there's still time for Lynch to throw in a surprise admission.

'I love plumbing,' he announces. Can he fix toilets? 'I've cleaned toilets. I can fix hot water heaters. I like pipes, pipe fitting, cutting threads ... all those things. I used to do it to make money.'

If the filmmaking, painting, lecturing on transcendental meditation, reflecting on the development of consciousness, and guest-editing dry up, it's good to know that David Lynch has a skill to fall back on. Before we say goodbye, he reiterates the one message he wants to get across in his stint as editor more than anything else: that happiness can only come from within, from finding unity.

'There's a line from the Vedas [sacred Hindu scriptures] that says something to the effect of, man has control of action alone, never the fruits of the action. If you understand that, then when your film comes out or your painting goes up on a wall, bad reviews won't hit you so hard and good reviews won't turn you into an egomaniac. Dive within; unfold higher states of consciousness until you reach supreme enlightenment. Then things that used to kill you won't kill you anymore. That can only be a good thing.'

One Love

As guest editor, David Lynch chose to illustrate a number of symbols that represent unity in various religions and cultures – presented here. Lynch uses a great deal of symbolism in his movies, but much of it is often lost on the average viewer, so, after an afternoon with our ancient texts, we attempt to explain what it all means.

Words: Paul Mccann

Reflect on a year of trailblazing design with a look back at the top ten design stories of 2024 – as chosen by you, the readers. Wallpaper* magazine's most-read design stories of the year point to exciting firsts, like David Lynch’s debut installation at Salone del Mobile, and Patricia Urquiola and Kvadrat’s upholstery textile made from 100 per cent ocean-bound plastic. There are also collaborative triumphs, such as Rimowa and La Marzocco’s new espresso machine; and the celebration of a design classic, the Rubik's Cube.

Top 10 design stories of 2024

Patricia Urquiola and Kvadrat's sustainable upholstery

Named Best Recycled Material at the Wallpaper* Design Awards 2024, Patricia Urquiola’s Sport textile for Kvadrat was a collaboration with Swiss company #tide and is the world’s first upholstery textile made of 100 per cent ocean-bound plastic.

The post-consumer plastic used is collected within 10km of the coastline of Thailand, as part of #tide’s commitment to prevent the materials from reaching the oceans.

The resulting sportswear-inspired fabric features subtle tactile patterns enriching the surface and a colour palette defined by vibrant shades of purple, green and blue, as well as a series of neutrals.

Writer: Rosa Bertoli

READ MORE

Design Dynasties: the powerhouse families of Italian furnishing

Wallpaper* met with eight Italian families who, generation after generation, have set the standards of furniture design across the globe. These 'Design Dynasties' generously shared the personal stories and experiences behind their success with our writer Laura May Todd. They spoke of their longest-serving pieces and the dynamics that have emerged from being both a family and a business. Through her photographs, Bea de Giacomo captures glimpses of their familial settings and their most cherished designs.

Writer Laura May Todd

READ MORE

A new era for Iittala

‘Imperfect’, ‘disruptive’ and ‘unpredictable’ are not words often associated with Finnish design, least of all with Iittala, one of its founding fathers. But new creative director Janni Vepsäläinen is not afraid to use all three and apply them to the 143-year-old company. Iittala now hails a new era, led by Vepsäläinen, and marked by a new logo and collections that pay homage to Aino and Alvar Aalto's heritage.

During Stockholm Furniture Fair 2024, Vepsäläinen unveiled her first collection, within a former nuclear reactor in the city. It wasn't your average debut; London-based composer and artist Damsel Elysium performed a piece using glass ‘instruments’, ranging from 2m-long horns to bells and bottles, all hand-blown in the Iittala factory near Helsinki.

Writer: Emma O'Kelly

READ MORE

Ikea and Raw Color's vibrant crafts

‘Tesammans’ means 'together' or 'in company' in English. It is also the name of the latest collaboration between Ikea and Raw Color, a studio based in Eindhoven and founded by Christoph Brach and Daniera ter Haar. The collection is full of playful designs, vibrant textures and an eye-catching colour palette.

Ikea’s creative brief to the pair was direct yet liberating – reveal the potential of the spectrum. ‘Raw Color possesses a distinctive grasp of colour’s potency, its emotional impact, and its role in shaping our living environments,’ Maria O'Brian, creative Leader at Ikea of Sweden told us. ‘We aim for this collection to spark creativity and empower individuals to craft vibrant and cheerful living spaces in their daily routines.’

Writer: Yoko Choy

READ MORE

David Lynch presents 'A Thinking Room' at Salone del Mobile

Visitors to Salone del Mobile 2024 were offered a new cinematic experience. The revered director David Lynch – known for cult films like Mulholland Drive, Inland Empire and Wild at Heart – designed an exhibition entitled 'Interiors by David Lynch. A Thinking Room' on the grounds of the Rho Fiera. The exhibition marked a new kind of venture for the Oscar-winning auteur, but according to its curator, Antonio Monda, former artistic director of the Rome Film Festival, it came not totally out of the blue.

'A few years earlier I presented Lynch the lifetime achievement award at the Rome Film Festival, and when I visited him in Los Angeles I found him polishing a desk. I asked him, what are you doing? And he told me he designs furniture now,' recounts Monda. 'So when the Salone del Mobile invited me to commission a filmmaker for this special event, I knew he was the real deal.'

Writer Laura May Todd

READ MORE

Rimowa and La Marzocco’s compact espresso machine

Rimowa, globally known for its premium luggage, united with La Marzocco, an expert in espresso machinery, to present a carefully crafted Linea Mini espresso machine celebrating German and Italian design and engineering.

Merging Rimowa's signature grooved aluminium with La Marzocco’s engineering, the Linea Mini is a compact design accessorised with bespoke compartments, and packs an artistic punch with your morning shot of espresso.

READ MORE

Ido Yoshimoto's sculptural pieces

We visited sculptor Ido Yoshimoto at his California studio, where he spoke about his work with wood, from his beginning as an arborist to his sculptures and furniture made with local reclaimed material – whether salvaged cedar, walnut or cypress, or old-growth redwood downed by disaster.

For Yoshimoto, making art is a way to figure out how things work, and how to fix what is broken. Sometimes it’s just repairing an old pepper grinder or cleaning a fish. But it’s also about living as nature, not with nature, an expression of curiosity and connection. Making art makes the world feel less mysterious because it’s tinkering in its highest form.

Writer: Shonquis Moreno

READ MORE

50 years of the Rubik’s Cube

Hidden away in Budapest’s Buda Hills stands Hungarian inventor Ernő Rubik’s minimalist five-storey abode. Adorned with multiple scenic terraces, it stars an elevator that conveniently glides between levels and furniture of Rubik’s own design. 'Yes, I made other things, too,' he told Wallpaper* on a tour through his comfortable rooms, 'but people only want to talk about the cube.’

The cube, of course, is the Rubik’s Cube, the bestselling 3D combination puzzle that the inventor dreamed up back in 1974. Twisting and turning into some 43 quintillion permutations, the six-sided cube is clad in vibrantly tinted squares that beckon enthusiastic problem solvers.

Fifty years after its birth, we spoke with Rubik about the history of a design classic.

Writer Alia Akkam

READ MORE

Air Play Moon Safari

While the ‘Air Play Moon Safari’ tour was in full swing across Europe, the USA and Mexico during 2024 (they're playing 2025 dates too), we explored the design of the French band's White Box stage. They played their intimate, retro-futurist classic album, in full, from a five-sided, white-walled, 21:9 aspect-ratio letterbox that faced its voyeuristic audiences like Hitchcock’s Rear Window property as reimagined by Californian modernists. 'It could be a home, it could be our world, our head… our architectural concept,' they said of the project.

Writer Simon Mills

READ MORE

Designing the Olympics

How do you begin to design the Olympics? On the eve of this year's event, we pulled up a pew with Joachim Roncin, the director of design for Paris 2024, to learn more about gender-free mascots with a genital likeness and medals made from the Eiffel Tower.

This had been a five-year assignment with a sprawling, impossibly broad scope, a hard deadline, a global audience and – ideally – a positive legacy that will span generations of future citizens. The heat was real.

Writer Hugo Macdonald

READ MORE

After an ominous tease that promised something new coming on June 5, today David Lynch revealed that his latest project will be a musical endeavour – a new album with actor and long-time collaborator, Chrystabell.

Cellophane Memories, will be released on August 2 via Sacred Bones with the first single, Sublime Eternal Love, arriving today. The accompanying music video – a moody triptych starring a low-lit Chrystabell – is directed by Lynch.

Lynch and Chrystabell met in 1999 and have collaborated on multiple projects since. In 2006, Chrystabell contributed to the soundtrack for Lynch’s last feature film, Inland Empire. They reunited again in 2011 for her debut album, This Train, which Lynch wrote and produced. And again in 2017 for EP, Somewhere in the Woods. Chrystabell also featured in Twin Peaks: The Return as Agent Tammy Preston.

Crystabell has long talked of the fruitful creative partnership she has found with Lynch. On her website, she writes: "Before I was introduced to David by someone who suggested we collaborate musically, I had no idea that he was a composer or musician. Indeed he approaches creating music from a different angle than most. From my perspective, David sees the music as a path to the feeling. The feeling emerges during recorded improvisational sessions in his recording studio he calls “experiments”.

The new album reportedly comes from a vision that Lynch experienced during a nighttime walk through a "forest of tall trees, over the tops of which he saw bright light. As he recalls it, the light became the lilt of Chrystabell’s voice and revealed a secret to him.”

Of the new record, Chrystabell divulges: “It's like mood music, not that it creates mood, but more that it reflects your own.”

Cellophane Memories will feature ten original songs.

Visitors at Salone del Mobile 2024 were offered a new cinematic experience. The revered director David Lynch — known for cult films like Mulholland Drive, Inland Empire and Wild at Heart — has designed an exhibition entitled 'Interiors by David Lynch. A Thinking Room' on the grounds of the Rho Fiera. The exhibition marks a new kind of venture for the Oscar-winning auteur, but according to it curator, Antonio Monda, the New York University film professor and former artistic director of the Rome Film Festival, it’s not totally out of the blue.

Watch: 'Interiors by David Lynch. A Thinking Room' at Salone del Mobile 2024

'A few years earlier I presented Lynch the lifetime achievement award at the Rome Film Festival, and when I visited him in Los Angeles I found him polishing a desk. I asked him, what are you doing? And he told me he designs furniture now,' recounts Monda. 'So when the Salone del Mobile invited me to commission a filmmaker for this special event, I knew he was the real deal.'

Lynch’s casual carpentry hobby led him to design a full-scale installation at the fair. Inside each of the two 'Thinking Rooms,' a single armchair is surrounded by thick curtains made of blue velvet — a nod to Lynch’s 1986 film Blue Velvet. 'At the beginning, there was only one big armchair inside the room. And I realised it was exactly like an image from one of his films,' says Monda of the scenography.

Above the chair, a series of brass tubes rise towards a curving gold ceiling. While around the perimeter, screens playing abstract videos act like portals to the outside world. According to Monda, Lynch posits the installation as a moment of respite and reflection from the frenetic pace outside on the Fiera floor. To construct the sets, Monda and Lynch worked with the set builders at Milan’s Piccolo Teatro.

'This the first time that I do these kinds of things and it was a lot of fun,' Monda reflects on the project. 'Because you see how the mind of an artist works with a different form of expression. You’re accustomed to seeing how Lynch works when he does a film like Blue Velvet or a show like Twin Peaks, but now his creativity, his talent and his vision are channelled into furniture.' However, Lynch was adamant that his new foray into design exists separately from his film career. 'He wants to keep it separated,' relays Monday. 'He has said that this has nothing to do with his films.'

'Interiors by David Lynch. A Thinking Room' at Salone del Mobile 2024 will be located at Pavilions 5 and 7 in the Rho Fiera from 16 to 21 April 2024

salonemilano.it

Get over Studio 54 and welcome Silencio New York, the latest outpost of the widely revered David Lynch-designed nightclub in Paris that opened in 2011. Situated in the heart of Midtown Manhattan, the new compact boîte, designed by Crosby Studios founder Harry Nuriev, pays homage to both Silencio Paris and Studio 54 in sophisticated, contemporary fashion and with film references to boot.

Silencio New York, an exclusive new club in the city that never sleeps

‘The original [Paris] club has always had strong ties with American artists, from its design by director David Lynch to hosting performances by artists like Prince, Lana del Rey, and Kendrick Lamar,’ says Silencio founder Arnaud Frisch. ‘Opening in the cultural heart of the United States is an opportunity to strengthen this connection, especially as New York reinvents itself post-pandemic. The choice of designer Harry Nuriev, residing in both cities, reflects a transversal vision blending architecture, fashion, and contemporary art, echoing Silencio’s core project.’

The Russian-born talent – whose recent projects include denim furniture shown at in Paris in 2023, and the design of the Avgvst jewellery store in Berlin – introduced straightforward yet impactful spatial interventions. While red curtains and LED strips outlining foreground walls evoke a Lynchian aesthetic, the shiny padding of background surfaces reflects Nuriev’s style. ‘I was inspired by Lynch’s work, especially Twin Peaks, but also wanted to add my own twist,’ the designer says.

Nuriev – also known for his work in collectable design, fashion and VR – chose to do away with what was previously a complicated maze of rooms. ‘I simplified it with one middle, rectangular, red capsule that stands out and serves as the main dance floor,’ he says. ‘The surrounding areas are rooms within a room. I worked with the colour combination, texture and lighting to infuse the club with a sexy atmosphere but also touches of irony, something I try to do with most of my projects.’

The jewel-box space is anchored by a monolithic DJ stand and a bar running along its rear. While the main floor fills up fast with dancers pulsating to soulful electronic beats, VIPs can lounge in monochromatic, almost Space Age-like lounges curtained off on either side. Guests access the club through a discreet doorway on 57th Street and pathways illuminated by the same red LED strips. It feels as though one is going backstage at a major theatre. Studio 54 was situated in a repurposed Broadway stage, and Silencio honours that dramatic undertone in a refined manner.

crosbystudios.com

The programme for Salone del Mobile 2024 was announced in a press conference in Milan on 13 February. Now in its 62nd edition, the fair will return to the Rho grounds from 16-21 April 2024 and will include a programme enriching its design offering through a series of multicultural initiatives. 

'Our ambition today is to capture new trends, involving and listening to communities near and far, identifying new approaches, experimenting with technologies,' says Salone del Mobile President, Maria Porro.

Salone del Mobile 2024: what's new this year

Among this year's new initiatives is a series of commissions that will take over spaces across the fair. Perhaps the most surprising and anticipated for this edition is the involvement of film director David Lynch at Salone del Mobile; his exhibition 'Interiors by David Lynch. A Thinking Room', imagined as the threshold to an immersive, meditative realm, pays homage to Salone and to the design of interior spaces. Design and furniture have always played a crucial role in defining his characters, and at Salone, Lynch brings the same mystery and meditative stillness of his work. The project is curated by filmmaker and writer Antonio Monda, and created in collaboration with Piccolo Teatro di Milano who contributed to creating a theatrical staging of Lynch's vision. 

'We chose to work with a master of cinema like David Lynch for his ability to lead us into another world, mysterious and alienating,' says Porro. 'Entering his Thinking Room will be like crossing into another world. And what are interior spaces if not research and creation of objects that complete a home, or even a room, to make us feel safe within our subconscious?'

On the occasion of Eurocucina, the fair commissioned a cultural programme in collaboration with leading global food publications, titled 'Everything you have ever wanted to know about food design in six performances', a series of installations and events that explore the role of food.

Elsewhere at the fair, the biannual bathroom display have inspired a project that reflects on the role of water in bathroom design, with an installation titled 'Under the Surface' and created by Accurat, Design Group Italia and design studio Salotto NY. Staged as a submerged island, the installation ponders on the impact of our daily water consumption and how contemporary bathroom design can transform our habits. 

Milanese studio Formafantasma returns to the fair with the 'Drafting Futures' arena, a space to host the fair's talk programme. They also present a second instalment of the Corraini bookshop, this year as a mobile concept to bring to Salone an impressive selection of design, art and architecture titles.

25 years of Salone Satellite

This year also marks the 25th anniversary of SaloneSatellite's support of emerging designers, which will also be celebrated with a dedicated exhibition at Triennale in the city. Over at the fair, the work of 600 designers from 37 countries will be on display to discover, and the showcase will include design schools, including some making their Satellite debut, such as Saudi Arabia's Prince Sultan University, Belgrade Business and Arts Academy of Applied Studies, and Michael Graves College in the United States among others. A newly established collaboration between Cometa in Como and CMQ – the French Campus des Mètiers et Qualification – will also be launched by the fair this year, to offer further support to design's new generations. 

'The ability to innovate, to anticipate trends and promote the beautiful and well-made, giving young people the space to express themselves has always been the added value of the Salone del Mobile, and this is also true of the 2024 edition,' says the Mayor of Milan, Giuseppe Sala. 'Few events are able to interpret and address the challenges of the contemporary world with the right mix of creativity and pragmatism like Salone del Mobile. An event that is not limited to being a showcase of excellence and avant-garde in furnishing and design, but pushes further, creating and nurturing extraordinary worlds both inside and outside the exhibition space that bring architects, designers, manufacturers and many companies that work and operate in this sector in Italy and abroad, and many, many visitors back to the city year after year.'

Salone del Mobile will take place from 16 to 21 April 2024 at Fiera Milano Rho
Click here for practical information on Salone tickets, how to get there and more

salonemilano.it

The Manchester International Festival – a biennial incubator of international art and cultural projects – is in full swing, offering a diverse spread of exhibitions and events across the city. The festivities kicked off earlier in July with Yoko Ono’s mass ring-a-thon, Bells for Peace. The artist’s message was clear as, via video link, she instructed crowds in Manchester Cathedral Gardens to ‘think peace, act peace, spread peace, imagine peace’.

This triggered a crescendo of cacophonous ringing from 4,000 specially-manufactured handbells, flooding Manchester with a message of unity, peace, and hope – well worth the risk of lingering tinnitus. Artistic director and chief executive of MIF, John McGrath, described the event as ‘a joyful response to our complicated times’.

Across the city at HOME, a centre for art, theatre and film, we’re deep inside the mind of filmmaker David Lynch, as far as we ever can be. You might associate Lynch with the likes of Twin Peaks, Blue Velvet or The Elephant Man, but his peculiar approach to cinematic surrealism translates just as unnervingly into visual art. His exhibition ‘My Head is Disconnected’ unites paintings, drawings and sculpture developed by Lynch over five decades.

These are staged in a dimly lit gallery where his absurd, creepy figures and faces look as though they’re about to peel themselves off the canvas and crawl into your nightmares. In another corner of the gallery, dystopian cityscapes and a series of starkly rendered drawings of industrial revolution era machinery, evoke a very particular facet of American nostalgia. ‘I was talking to Auntie Em [Wizard of Oz], and she said there’s no place like HOME’, says Lynch.

‘Parliament of Ghosts’ – the first major UK exhibition by Ibrahim Mahama – has landed at the Whitworth Art Gallery, transforming spaces into an archive of paintings, film and found objects, where one country’s trash has become the Ghanaian artist’s treasure. At its heart is a four-sided reproduction of Ghana's parliament chamber, built with tatty second-class train seats originally manufactured in Manchester, but salvaged by the artist from the abandoned Sekondi railway station.

The structure, lined with tired wooden lockers used by rail workers, tells the tale of Ghana’s Gold Coast railway built under British colonial rule, and also serves as a space for contemporary debate. ‘It’s a more futuristic thing I’m thinking about, but it uses the aesthetics of the old,’ says Mahama. Elsewhere, a mammoth concrete structure is modelled on Ghana’s stunted, modernist silos, which were built in the late 1950s with the intention to store cocoa and grain, but were left empty and unused. Mahama has given its interior space new life, in the form of an all-consuming seven-channel video installation.

At the Science and Industry Museum, ‘Atmospheric Memory’ by Mexican-Canadian artist Rafael Lozano-Hemmer sits at the intersection of technological innovation, architecture and public participation. The artist drew on computing pioneer Charles Babbage’s 180-year-old theory that the air holds a ‘vast library’ of every word ever spoken. ‘The idea that the atmosphere is not neutral, that the atmosphere in fact has a total recollection of anything we say, is the beginning of this project,’ says Lozano-Hemmer. The polyphonic entrance tunnel to the main exhibition ‘chamber’ is lined with thousands of speakers, each trying to break through the noise with separate soundtracks.

Inside the space – custom built from 52 shipping containers – it’s difficult to know how to digest this buffet of technology. A weathervane table is controlled by computerised fans, a queasy film of an endoscopy plays from the bottom of an empty oil drum, and in the far corner of the room is the world’s first 3D printed speech bubble. In another work, various ‘atmospheric machines’ mine the air for sounds, which then become ripples on water, 360-degree projections and plumes of fog spelling out your spoken words. A large screen projects an image of your own baffled face, unknowingly taken when you first entered the space.

Among other tangents, the exhibition discusses contemporary themes of surveillance and misuse of AI. If you start to get a sneaking suspicion that the show is all about you, you’re probably not wrong.

INFORMATION
Manchester International Festival 2019, until 21 July, various locations. mif.co.uk

Cult-classic director and Wallpaper* 2010 Guest Editor David Lynch has lent his artistic vision to Bang & Olufsen, wrapping various speakers in images from his 1970s War Between the Shapes series of works on paper.

The maverick multi-discipline artist, who has a penchant for revealing disturbing tales from the darkside, is a self-proclaimed (if unlikely) ‘patron' of the Danish audio brand, and this marks his second artistic collaboration with it, following his limited edition wrapping of the Beoplay A9 speakers in 2017.

Praising the brand's ‘great sound and great design', Lynch has now added a unique version of the Beosound Shape speaker to his growing list of limited edition art objects for B&O. The wall-mounted wireless speaker system will be on display at MoMA Design Store’s Soho location, as part of an immersive and interactive pop-up experience inspired by imagery from Lynch’s films.

Lynch’s imagery has also been embossed onto the Beoplay M5 compact wireless speaker, and the portable P2, along with his signature, which is laser engraved on both. If you're quick, you can get your hands on these ‘very limited' editions available exclusively at the MoMA pop-up.

INFORMATION

The Bang & Olufsen x David Lynch pop-up is at MoMA Design Store Soho from October 10 to November 11. For more information, visit the Bang & Olufsen website

ADDRESS

MoMA Design Store
44 West 53rd Street
NYC, 10019

VIEW GOOGLE MAPS

This month marks Wallpaper’s coming of age: our 21st anniversary. It’s also my tenth year as editor-in-chief, having switched from being creative director in April 2007. I must confess that my coming of age came a number of years earlier. Time flies.

One of the earliest projects I worked on in my new role was our inaugural October Guest Editors’ Issue. Now, many media outlets have given over their editorial reins to appropriate talents in order to bring a fresh perspective and generate some PR buzz. But because of Wallpaper’s multi-faceted editorial remit, we felt our spin on the concept should be equally all-encompassing – we would invite not just one, but up to three diverse creatives each year who would reflect our offering, but also push us to try new things.

So year one saw a purist industrial designer, Dieter Rams, an iconoclastic artist, Jeff Koons, and a much-more-than-a-fashion-designer fashion designer, Hedi Slimane. To rebalance the unintentional male bias for 2007, the next year saw Louise Bourgeois, Zaha Hadid and Rei Kawakubo bring art, architecture, and fashion girl power to our pages. Subsequent editions have seen Karl Lagerfeld, Philippe Starck, David Lynch, Robert Wilson, Kraftwerk, Christian Marclay, Lang Lang, Ole Scheeren, Taryn Simon, Laurie Simmons, Elmgreen & Dragset, Frank Gehry, Jean Nouvel, William Wegman and Liz Diller have fun at our expense. That makes 21 in total, and therefore a convenient excuse to take a retrospective look, as well as request some updates for our latest issue. (Our thickest issue yet, the spine also happens to measure a serendipitous 21mm)

In addition to a 20-plus page section within the magazine, each of our Guest Editors was also invited to design a cover. Many called for unusual paper technologies – Hedi used specialist printing inks to simulate glitter, whereas Karl invited readers to strip the Dior Homme suit off his muse by means of a peelable layer. Starck constructed a transparent front cover using three layers of tracing paper. And Kraftwerk’s Ralf Hütter tacked on a pair of 3D specs, to go with his 3D cover portrait and portfolio of exclusive images tied to key Kraftwerk compositions.

If I had to pick one favourite project it would be Zaha’s. Her cover was a gatefold construction using multiple die-cuts, while inside she produced a 16-page die-cut sculpture, which was a take on her ‘Lotus’ room installation at that year’s Venice Biennale. ‘I want to put a big hole in the magazine’, she told us. We dutifully obliged.

Zaha was profiled by art critic Matthew Collings, who visited her at her London offices and provided a pleasant distraction from discussions about cement. Collings and ‘Big Z’, as he affectionately called her, hit it off immediately. ‘Her architecture is the greatest art of the moment,’ he said.

So it’s a huge pleasure for me and I think a fitting tribute to Zaha (who tragically passed away 18 months ago) that this anniversary issue’s cover was created by Zaha Hadid Architects and its principal and torchbearer, Patrik Schumacher.

Enjoy this special issue and raise a glass to Big Z.

Tony Chambers, Editor-in-Chief

As originally featured in the October 2017 issue of Wallpaper* (W*223)

Our thickest issue yet, the spine also happens to measure a serendipitous 21mm, in keeping with our celebration of 21 years, and 21 guest editors

INFORMATION

The October 2017 issue of Wallpaper* is out now. Subscribe here

Christian Louboutin, the genius behind the red-soled staple of shoe-loving fashionistas, is a pioneer of creative collaborations. Earlier this year he turned to Thomas Heatherwick to design the twisted bottles of his new fragrance range, and he enjoys an ongoing meeting of minds with David Lynch, with whom he created a range of fetishistic shoes. Lynch’s TV series Twin Peaks served as the inspiration behind Shoe Peaks, his latest bag design. Made from the last of So Kate, Louboutin’s stilettoes that launched a thousand copies, the sculptural clutch is a surreal nod to its design derivation. Created with impeccable attention to detail, the aluminium bag comes in either a high gloss black lacquer or gold metallic finish.

As originally featured in the December 2016 issue of Wallpaper* ( W*213) 

INFORMATION

For more information, visit the Christian Louboutin website

Since Masataka Hosoo took over the more than 300-year-old Nishijin textile business around a decade ago, he has continued to push the creative limits of the family-owned Kyoto company's 9,000-thread looms. An intimate and reflective exhibition currently on display at the Eye of Gyre gallery in Omotesandō, Tokyo offers a compact and stunning opportunity to experience his vision close up.

Inspired by the David Lynch artwork Spiral, Hosoo has 'translated the stratified and multi-tiered world of the spiral into a space, allowing for viewers to experience the depths of the human mind'. A stunning, 70m tapestry of Hosoo's finest silk fabric, designed and made over the last six months, is suspended from the ceiling, spiralling within the small exhibition space. Viewers are invited to follow the flow of the fabric from the outside in, exploring the many layers of the weave in a vivid and mesmerising display of colours.

The clever exhibition and lighting concept by local architect Yukiharu Takematsu highlights the design and allows the fabric to be viewed from both sides in several places. Lynch's Spiral is prominently displayed at the centre of the space, with the cardboard and black paint used for the piece repeated in the cardboard floor and wall coverings of the gallery.

INFORMATION
’David Lynch meets Hosoo’ is on view until 13 November. For more information, visit the Hosoo website

ADDRESS

Eye of Gyre
Gyre 3F
5-10-1 Jungu-mae
Shibua-ku
Tokyo

VIEW GOOGLE MAPS

Spurred on by David Shrigley's restaurant design for London's Sketch, we've dug into our archive to round up a gang of artists who have stepped away from the gallery to re-imagine hospitality spaces as all-encompassing works of art. Shrigley's Sketch creation follows on from Martin Creed's design for the same space (pictured), for which he paved the room with zigzagged, multi-coloured marble flooring, and fitted it out with an eclectic assortment of multi-hued furniture and tableware - with each piece being unique.

Last year's Frieze Art Fair in New York saw German artist Tobias Rehberger transplant a dazzling version of his favourite Frankfurt drinking den into Chelsea's Hôtel Americano. Rehberger's smart replica, Bar Oppenheimer, featured the identical proportions of the Frankfurt bar, but came emblazoned with striped graphics, dubbed 'dazzle camouflage'.

Designed by artist Ry Rocklen, Absolut's trophy 'Art Bar' installation at the 2013 edition of Art Basel Miami Beach was one of the triumphs of the vodka brand's ongoing pop-up bar series. For 'Night Court' - the most extensive manifestation of Rocklen's 'Trophy Modern' collection to date - a basketball court on Miami's oceanfront was transformed into a bouncing bar scene, featuring bleachers, a ping pong and chess table, all made from trophy parts

Artist Piero Golia launched Chalet Hollywood in 2013 as a gesamtkunstwerk that repurposed an abandoned storage area in Los Angeles into a low-lit, intimate members' club. Golia enlisted architect Edwin Chan to blend the aesthetics of cabaret with an alpine mountain getaway, carving out a late night LA escape. 

To celebrate the arrival of Damien Hirst’s ‘Relics’ retrospective at Doha’s Al Riwaq Exhibition Space last year, the British artist teamed up with Miuccia Prada to create a desert mirage in the form of a pop-up juice bar in Qatar. Located within a nearby Bedouin tent, the ‘Prada Oasis and Damien Hirst’s Pharmacy Juice Bar’ came decked out as a drug store, acting as a reinterpretation of the artist’s late 1990s Pharmacy restaurant

Private Parisian members' club Silencio was conceived by film director, and visual artist David Lynch to act as a temple of the arts, housing a bar, library, cinema screen and stage for private performances. Located in the Paris neighbourhood of Montmartre, Silencio opened in 2011, with interiors resembling Lynch's film sets from Lost Highway and Mulholland Drive

Given a choice between visiting Disneyland and an abandoned factory, film director and former Wallpaper* guest editor David Lynch picks the latter. Take one look at his series The Factory Photographs, and it's not hard to grasp why. Be they sites of dereliction or hothouses of industry, the various buildings captured make perfect movie material.

'They are like cathedrals,' says Lynch, of the factories. He talks of decay as a 'fantastic thing', before referring to rusting machinery and nature's slow requisition of abandoned spaces as something of 'great beauty' - though his images are anything but full of greenery.

Detached pipes and fractured brickwork litter the focus of Lynch's lens. 'There are shapes and textures in the factory that are so painterly,' says the director, 'It's amazing.' Each room brings more components and abstractions and with them, shadows that add the perfect darkness to black and white prints.

Lynch's obsession initially began soon after he filmed The Elephant Man in 1980. 'I always heard that the north of England had the greatest factories,' explains Lynch. 'That it was fire and smoke, and just pure beauty.' And so, along with cinematographer Freddie Francis, he planned a trip to visit Britain's industrial heritage - only to discover for the most part it had been torn down.

Now Lynch's collection of photographs - currently on display at The Photographers' Gallery in London - take the viewer to Berlin, Poland, New York, New Jersey and England, among other industrial locations. This, however, is far from being simply a documentary project.

Lynch pays little notice to context. It's the small details to be found in among the ruins that he revels in. And - as if to say he has little time for nostalgia - a series of working factories, complete with white billowing clouds escaping smokestacks, are also photographed.

Station, a track Lynch has chosen to soundtrack the exhibition, (from his album 'The Air is on Fire'), ties these two strands together. Each mechanical sample slowly clunks across an electronic brawl, bringing to life the past while haunting the present.

ADDRESS

The Photographers' Gallery
16-18 Ramillies St
London W1F 7LW

VIEW GOOGLE MAPS

Mathematicians have a tendency to wax lyrical about the 'beauty' and 'elegance' of their discipline. For the most part, this is a tricky concept for the layman to grasp. The enigmatic glamour of prime numbers, for example, is beyond the ken of most of us. But Mathematics: A Beautiful Elsewhere - a new exhibition at the Fondation Cartier pour l'art contemporain - aims to translate the mysterious allure of maths to a wider audience, with a little help from artists like David Lynch, Patti Smith and Takeshi Kitano.

The exhibition, developed in association with the Institut des Hautes Études Scientifiques (IHÉS), takes visitors on a journey through mathematical thought, guided by six of its most prominent figures: Sir Michael Atiyah, Alain Connes, Nicole El Karoui, Misha Gromov, Cédric Villani and Don Zagier - world authorities in fields such as number theory, algebraic geometry, differential geometry and probability.

These eminent eggheads have been invited to come up with new ways of 'seeing, hearing, doing, thinking and interpreting mathematics'. But while there's no doubting the superiority of their grey matter, the assumption is that they might need a hand when it comes to making themselves understood to the average maths dunce.

To help them communicate their brain-meltingly complex ideas, Fondation Cartier has teamed these experts up with eight artists - Jean-Michel Alberola, Raymond Depardon and Claudine Nougaret, Takeshi Kitano, David Lynch, Beatriz Milhazes, Patti Smith and Hiroshi Sugimoto - with the goal of translating aspects of their subject into tangible experiences in a range of media.

David Lynch, for example, has created a structure in the shape of a zero to accommodate Misha Gromov's Library of Mysteries, which provides a retrospective of the major events in the history of mathematics via an audiovisual installation.

Lynch also contributed to 'Ergo-Robots/Flowers Fields: Artificial Curiosity and Language', an interactive installation that sees a 'tribe' of robotic figures emerging from an egg and then exploring their environment, learning new skills and communicating with their human visitors. The robots' heads, which Lynch designed, have a distinct touch of Eraserhead about them.

Arguably the most germane of all the exhibition's installations, however, is Hiroshi Sugimoto's graceful sculpture, a hyperbolic form entitled 'Surface of revolution with constant negative curvature' - which poses the thorny question underpinning this entire project: how can mathematical abstraction be represented visually?

ADDRESS

Fondation Cartier pour l'art contemporain
261, boulevard Raspail
75014 Paris

VIEW GOOGLE MAPS

The chain-smoking, quiff-sporting, transcendental-meditating Hollywood maverick, David Lynch, is one of the true titans of 20th century cinema. For his stint as Wallpaper* guest editor (October, W*139), however, he has swapped the big screen for the pages of the magazine, taking us to a higher plane of consciousness through a series of words and symbols. Meanwhile, Lynch's extraordinary oeuvre is also be hailed in an exhibition at Comme des Garçons' Six gallery in Osaka. Here the director has paired 12 of his short films with a series of his paintings - 'artist' being another string to his already enviable bow.

In fact, the Montana-born director picked up a paintbrush before he began making films and still believes that both forms of expression are integral to his work. This sentiment is echoed by Comme des Garçons founder Rei Kawakubo (a former W* guest editor herself, back in October 2008), who has designed the 'Darkened Room' exhibition, integrating a temporary theatre for the films with exhibition space for the paintings, to sweep away 'preconceived genre divisions' between the different art-forms.

Seven of the films on show comprise 'Dynamic: 01 The Best of David Lynch.com' - short works from the members-only section of his website, notably the titular Darkened Room, an eight-minute piece that first appeared on his website in 2002 and which - given its preoccupation with bananas - pulls the viewer into a typically surreal Lynchian universe.

The exhibition also offers visitors a chance to see some of the filmmaker's earliest experimental works, created during his student years, including his first short film 'Six Men Getting Sick' (1967) and 'The Alphabet' (1968).

Forty-four years on, despite being a passionate advocate of the teachings of Maharishi Mahesh Yogi and a firm believer in the quest for 'unity' through transcendental meditation (see our October issue), Lynch's psychological investigations on screen and canvas continue to challenge, unsettle and delight in equal measure.

Even fans of Lynch's dark and nightmarish cinematic work may be shocked by the rawness of some of his recent canvases. 'When it comes to painting,' he once wrote, 'it's the darker things I find really beautiful. All my paintings are organic, violent comedies.'

On show in Osaka until 9th October, Darkened Room will then transfer to Comme des Garçons' second Six gallery (from 21st October) at its epic new flagship store in Seoul.

ADDRESS

Six
Shinsaibashi Fuji Building, 2F 3-12-22
Minami-Senba Chuo-ku Osaka

VIEW GOOGLE MAPS