10 moments in which David Lynch left his mark on fashion

His surreal and enigmatic vision of cinema managed to transcend the limits of the big screen to leave an indelible mark on the most daring proposals of designers.

David Lynch has managed to transform his visual universe into a cultural reference that has been embraced on numerous occasions by some of the most important fashion houses, directing advertising campaigns and collaborations that, to this day, continue to be considered true works of art.

Here are some of his most iconic moments outside of film:

‘Obssesion’ by Calvin Klein (1988)

His first major foray into the world of advertising. In it, he created a sensual and disturbing atmosphere as only he knows how. And the result was a campaign charged with symbolism and emotional tension where the images evoked a visceral desire, a play between the forbidden and the unattainable. The faces and bodies of Benicio del Toro and Heather Graham were imbued with a completely hypnotising psychological charge, while offering a product that was not only a perfume, but an invitation to enter a world of obsession, desire, fears and longings.

‘Opium’ by Yves Saint Laurent (1992)

One of the best-known fragrances of the French Maison, which to this day continues to be an icon with ambassadors of the stature of Zoë Kravitz, was once the subject of Lynch‘s analysis. On this occasion, he managed to imagine a universe of mystery and eroticism, but with a much more sophisticated touch of sensuality. A dramatic play of light and an intoxicating soundtrack teleported the viewer into a sensory dream of opulence and mystery.

‘Who is Gio?’ by Giorgio Armani (1992)

That same year, the Missoula native worked on another campaign that, by contrast, moved away from traditional advertising by mixing mystery with elegance. The framing and styling drew directly from his surrealist essence, with images that suggested more than they showed and left the audience uncertain.

‘The Wall’ by adidas (1993)

He managed to conquer the world of sport with one of the most innovative collaborations in the history of advertising. He did nothing more than transform the act of exercising into a visually fascinating experience where the boundaries between sport, art and psychology were completely blurred. The frames showed the protagonist trying to escape from an apocalyptic city and thus reach a new dimension outside reality, all through his unmistakable tension and visual symbolism.

‘Tresor’ by Lancôme Paris (1993)

Undoubtedly one of the director’s most sensual works, in which he was able to capture the ethereal magic of the intangible – as well as the elegance of the fragrance itself – through the incomparable Isabella Rossellini, whose face could be seen between the diffuse lights and the closed shots. As in his feature films, Lynch here played with the concept of hidden desire and partial revelation.

‘Sun, Moon, Stars’ by Karl Lagerfeld (1994)

Mysticism took over this proposal where the dreamlike space managed to dilute time. There was no lack of elements of mystery and a focus on the ethereal, offering the perfect setting for a fragrance of this type. The luxury of haute couture was contrasted with exactitude and exquisiteness against the discomfort of the strange, with moments that seemed to be suspended in time and Daryl Hannah meditating on the universe.

‘Fahrenheit’ by Dior (2004)

During his time as creative director of Dior‘s men’s line, Hedi Slimane entrusted him with the task of directing the commercial for his fragrance Fahrenheit. And for this, Lynch imagined a visual homage to the union between modernity and the primitive, a concept so dear to the designer.

‘Gucci’ by Gucci (2008)

On this occasion, the director transferred the elegance of Gucci to an abstract and psychological plane where the boundaries between dream and reality disappeared completely. It was the Italian house’s first TV spot, starring three of the most iconic models of the moment: Raquel Zimmerman, Natasha Poly and Freja Beha Erichsen, who perfectly embodied the essence of the perfume with a haunting sophistication. And for the soundtrack, Heart of Glass by Blondie, of course.

‘Lady Blue Shanghai’ by Dior (2010)

In its quest for something more than conventional aesthetics, Dior relied on David‘s unique vision for one of its most anticipated releases of the moment. And what he did was to create a conventionally charged visual narrative, with Marion Cotillard at the helm, caught in an ambiguous setting that evoked Lynchian mysticism and brought it closer to the world of haute couture.

‘Fetish’ by Christian Louboutin (2011)

An exclusive series of images exploring fetishism and desire through fashion and surrealism. In them, the models adopt dramatic poses in front of the camera, surrounded by the acclaimed designer’s shoes and within an atmosphere that is both mysterious and sensual. Lynch‘s eroticism, which has so often pervaded his feature films, is perfectly adapted to this unique project.