436873 1 David Lynch as Dom Pérignon’s Dark Knight

Photo: David X. Prutting/BFAnyc.com

Who else could summon The Kills, along with journalists and guests from around the world—including Sky Ferreira, Rachel Leigh Cook, Kelly Osbourne, Mulholland Drive’s Laura Harring, and a barefoot Thomas Jane—for an unveiling but David Lynch? The Lynch-loving crowd flocked to Los Angeles’s Milk Studios earlier this week to pay tribute to the Twin Peaks creator’s latest oeuvre: his limited-edition take on Dom Pérignon’s 2003 Vintage and 2000 Rosé bottles.

Speaking of his latest collaboration with the brand, Lynch said, “I really like the things where I have a freedom to experiment. Obviously, the client has to like the result. This idea of experimenting to get something was embraced by Dom Pérignon, and luckily, it turned out well.”

So what inspired the tour de force champagne brand to re-partner with the iconic director? On the heels of its previous colorful collaboration with Andy Warhol’s estate, it seems there’s a newfound attraction to all things “dark”—it was the evening’s suggested dress code, after all. According to Richard Geoffroy, chef de cave and creator of Dom Pérignon Vintages, “Nothing is more appropriate than the color ‘dark’ to Dom Pérignon. Dark on the whole is Dom Pérignon, but I would say even more so, Dom Pérignon Vintage 2003. We felt we could really work that color ‘dark,’ through a prism of primary colors—white, yellow, green, red, and eventually ‘dark’—to venture into that complexity.” And let’s be honest, no one does complexity like Lynch.

436784 1 David Lynch as Dom Pérignon’s Dark Knight

The Kills perform. Photo: David X. Prutting/BFAnyc.com

The Milk Studios space was transformed to reflect elements Lynch had used while photographing a Dom Pérignon advertising campaign last year: everyone in attendance had to pass through a smoky, darkened tunnel refracted by neon blue light. When the iconic director himself arrived, he traversed his own champagne-themed labyrinth, trailed by a camera crew capturing his every step for the crowd. Moments later, Lynch—with his Eraserhead hairdo a bit more coiffed than its 1977 version—stood before a wall. With everyone in the warehouse-like space craning to see, the wall lifted—as if magic—to reveal the final product of the collaboration.

The sight was one Lynch, too, enjoyed: “A shared experience… there’s something magical about that—big, big screen, great sounds, dark, big, room with many, many people sharing the same experience… a group is way more intelligent than a few.”

Hopefully, Lynch and Dom Pérignon will continue to collaborate, although the filmmaker doesn’t expect to co-host too many more epic parties: “I like a party of two. Honestly, I really like to stay home and work. It’s my favorite thing… I like to be a lot alone and work, catch ideas.”

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