Black Edition: A conversation with Kazu Yokotsuka

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Black Edition: A conversation with Kazu Yokotsuka

A discourse between materials, motifs and construction.

Black Edition: a discourse between materials, motifs and construction - where harmony meets dissonance. An exploration into new territory.

As the third instalment of Black Edition comes to fruition, we take a deeper dive into the inspiration and experimentation behind this season’s collection, as well as the wider ethos that defines Black Edition as a whole.

We travelled to our Suffolk factory with Lavenham’s Head of Creative, Kazu Yokotsuka, who first launched the concept in 2024, to explore the ideas behind the collection. Through a series of conversations, we unpack the thinking, process and experimentation that continue to shape Black Edition.

Black Edition is described as “the shadow of the collection.” What does that metaphor mean to you, and how does it shape the identity of this line?

Everything has both light and shadow. While “shadow” is often interpreted negatively, the shadow represented by Black Edition is different. If the Classics Collection, born in Lavenham Village, is the light, then Black Edition is like the deep sea - a place where we dive deeper into the brand’s philosophy and culture.

How does Black Edition differ creatively from your mainline? What freedoms did you give yourself in this more experimental space?

From my perspective, the pressure outweighs any sense of freedom. Introducing unexpected materials while preserving the long-standing philosophy and culture of Lavenham is a demanding task, and that responsibility itself creates a certain tension.

The launch copy speaks of “a discourse between materials, motifs and construction.” What does that conversation look like in practice?

Just as we meet different people and enjoy meaningful conversations, I value engaging in dialogue with materials, motifs, and structures. The goal is to find a balance that feels mutually satisfying. If something is missing, the philosophy weakens. This dialogue also helps prevent the design from being overly influenced by personal emotions or sentiment.

Where do you see harmony in the collection and where did you intentionally introduce dissonance?

Dissonance was not intentionally introduced in Black Edition, it emerged naturally. Lavenham’s history is rooted in building its collections through continual experimentation. Because of this foundation, any dissonance within the collection is able to harmonise without creating discomfort.

Was there a particular moment, idea, or feeling that sparked the creation of Black Edition?

I am consciously trying not to define it in that way.

How did working primarily with black (or darkness as a concept) change the way you approached form, texture, and detail?

Black is a colour in which strength and warmth coexist, with the power to dominate everything around it. It also contains countless variations, even subtle shifts in tone can change its expression. Exploring shadow through materials and motifs was a new experience for me and proved deeply stimulating.

Which piece in the collection best represents this idea of “new territory,” and why?

The entire collection, including Black Edition, represents the exploration of new frontiers.

Were there any risks you took in Black Edition that you wouldn’t normally take in your mainline?

That judgement is ultimately left to the customers who love Lavenham.

How do you hope people feel when they wear Black Edition - emotionally, psychologically, or even physically?

There are moments in everyday life when an experimental approach is necessary. Just as you might travel to a country you’ve never visited before, encountering unfamiliar languages and architecture, why not try dressing in a way you never have? I believe it can reveal a new side of yourself.

Black Edition is now in its third season. Where do you see the concept going?

Without expanding or transforming into something else, it will continue to unfold universally, much like the history of Lavenham itself.

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