Veronique Branquinho: F/W04 Twin Peaks Collection.
Graduating from the Royal Academy of Fine Arts in Antwerp in 1995, Veronique Branquinho is a fashion designer who often flies under the radar when compared to the attention other historic Antwerp designers such as Raf Simons and Martin Margiela receive. Since retired as a designer as of 2017, her aesthetic as a designer for both womenswear and menswear could be described as a blend of casual and formalwear with a specific focus on the contemporary styles of Europe in the late 90s/early 2000s. Known for her toned down color palette, and elegant tailoring, Veronique Branquinho was adored by many at the time who desired her reserved takes on both men's and womenswear basics.
Usually unassociated with being conceptual in her collections, for her Fall/Winter 2004 menswear show she defied this and recreated the world of David Lynch's experimental crime series, Twin Peaks. The show's presentation took place in a recreation of a setting synonymous with the show called "The Red Room". Models in the show were dressed in attire similar to the styles and aesthetics of the characters in Twin Peaks, the way the models were presented reflected specific scenes from the series. Sherpa jackets, plaid patterns and chunky sweaters referenced the clothes seen worn by the residents in the small logging town which the series takes place.
Veronique Branquinho, a designer who emerged the same time and from the same place as many of fashion's historic figures, is not one who should be overlooked when analyzing late 90s/early 2000's fashion. Veronique Branquinho not only provided runways with tasteful and alluring classic designs, she proved herself as a designer who was also capable of designing complete conceptual collections that conveyed a captivating story to an audience.
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Being invited by Pitti Immagine was the perfect opportunity for Veronique Branquinho to do a first live presentation.
Veronique Branquinho looks upon men’s fashion as a selection of indispensable evergreens worn by realistic man, rather than focusing on idols, muses or remote stars. Due to her subtle approach to menswear, Veronique has always been reluctant to do a classical catwalk setting, the Teatro Goldoni enables her to stage an alternative event which presents the collection to it’s full potential. The performance is not shown by professional models, but “real life” men.
Together with choreographer Sam Louwyck, she created a scene, set in an alienating atmosphere, inspired by the “red room” from David Lynch’s Twin Peaks, with its typical zig-zag floor and red curtains.
For Autumn-Winter ’04-’05 she shows brown tuxedos, tuxedos refined by subtle detailing such as contrasting collars in burgundy or brown satin. Moreover she combines these details in perfect harmony with more casual garments: turtleneck jerseys worn under ceremonial shirts with pleated inserts, cumberbands, foulards, ceremonial trimmings on sweatersleeves.
Furthermore she hints at the world of hunters and lumberjacks, using recognisable materials and designs: sharp cut coats in traditional loden with a boxpleat at the rear, waxed cotton trenchcoats, parkas finished with a fake fur trim at the hood and duffelcoats with red sheppard lining.
Checks are predominantly present through the collection: the same red sheppard pattern reoccurs blown up and handknitted in shetland jumpers, in jackets with sheepskin lining and biaiscut details and in wide lumberjack shorts with similar biaiscut details and pleats at the rear.
The concept is emphasized by layering the different checks and knotting both shirts and pullovers around the waist, pants are tucked into the boots.
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