avril 282016
déc. 022015

Film Sonore 18
Film Sonore 18

FILM SONORE 18 23.42


Bouchra Jarrar haute couture fall winter 2015/2016


Comme des Garçons men spring 2016



Jil Sander men spring 2016


Calvin Klein men spring 2016



Giambattista Valli haute couture fall winter 2015/2016


Miu Miu croisière 2015


Self Portrait women spring 2016



Victoria Beckham women spring 2016


Narciso Rodriguez women spring 2016


Derek Lam women spring 2016



Anna Sui women spring 2016


Calvin Klein women spring 2016


Mary Katrantzou women spring 2016



Thomas Tait women spring 2016


Prada women spring 2016



Tod’s women spring 2016


Jil Sander women spring 2016


Colangelo women spring 2016


Marni women spring 2016


Krizia women spring 2016



Missoni women spring 2016


Courrèges women spring 2016


Balmain women spring 2016


Ann Demeulemeester women spring 2016



Comme des Garçons women spring 2016



Nina Ricci women spring 2016



Giambattista Valli women spring 2016


Moncler women spring 2016


Miu Miu women spring 2016


déc. 022015

Palace Costes – Décembre 2015


NOVEMBER 10, 2015 2:40 PM

Today, Frédéric Sanchez is among the most respected sound designers in the world, but in 1988, he was a 22-year-old creative living in Paris who found himself at dinner with Martin Margiela on the eve of the Belgian designer’s debut collection. “It was really the beginning of the house. There was not an office; he was working with his partner, Jenny Meirens, in a little apartment in Paris; and he had just left [Jean Paul] Gaultier, where he was an assistant,” Sanchez recalls over the phone from his studio in Paris.

“We met through a friend. This friend said to Martin that he should talk to me because he was looking for someone to make his soundtrack for the show, so he invited me for dinner in his house. It was very interesting because he was living in a very bourgeois area in Paris, but in a courtyard, like in a very small place, where there were so many magazines and images and things like that. I remember that he had a table set with very, very beautiful white napkins and with chandeliers in silver. I thought to ask him what was the concept of what he was doing. The environment that he was putting together—like the table, which was very beautiful with the napkins and the silver chandeliers but with wax on the chandeliers—the idea of something that has lived, not something too polished, was, he explained to me, the idea behind what he was doing . . . and when I heard all this, it made me think about how I had this idea to do something with music and I was living with music. For me, music was almost like fragments of life, and there was something matching in his idea of the image and my idea of the sound.”

From there the pair began to collaborate on the soundtracks for Margiela’s early shows, really more like gatherings than traditional runways. “For the first show [in 1988], which was in a very old theater, we put some microphones backstage, so when people entered the venue, they were listening to what was going on backstage. It was a sort of introduction of what was going to come next. A sort of what is behind all this?” Sanchez explains. “We spent maybe two months working on this soundtrack and thinking of it. It was my first soundtrack and it was his first show, so it was important how we started. There was a lot of talking and we were spending a lot of time together. The process was quite long, and Martin was very involved in the process, but it was the beginning of my way of doing this and of his way of doing this.”

Remembering their early conversations, Sanchez recalls, “[Martin] also told me a lot about Warhol movies, of the way that Warhol treated the image, where he was scratching the image, almost like the cut of the editing was not very well done. Something that had lived. It reminded me of the way I was playing with records, where I liked very much 10 seconds of the song, and so I was repeating those 10 seconds with the needle. That was really how we started making the concept of what we were going to do for the soundtrack for this first show.”

The collaboration went beyond just the musical aspects of the presentations. “I have to say that not so many people know, but when I started working with him, I was doing the soundtrack, but I was also doing the casting, I was working on different things with him. It was only three or four people then, working on the preparation of the show.” Even in the beginning, all the staff would wear white lab coats, and even once, take a bow all together. “Actually, for the first show, at the end of the show, we all came out on the stage—the models, the people that were working in the house, Martin came on the stage. It was the first time that people saw him—and the only [time]—and I think there was a moment, I remember everybody was very moved, because there was so much energy in these things.”

Sanchez continued to collaborate with Margiela into the ’90s and again when the designer took the reins at Hermès in 1997. His personal highlight, he says, was Margiela’s Spring 1992 show staged in an abandoned metro station in Paris, where models sauntered down staircases lined with melting candles. For the soundtrack, Sanchez cut together snippets of people cheering and screaming from some 40-odd live recordings, creating a 12-minute collage of aahs! and woos! The clothes that season included midi-length skirts in plaids and florals whose prints were painted onto the forearms of models, the effect like that of a garment bleeding over onto flesh, blurring the line between the real and the surreal. “I like this soundtrack very much because it’s a composition with things that really exist,” Sanchez says.

Business of Fashion – 5 Novembre 2015

Frédéric Sanchez

PARIS, France — It was October 1988. In an old Parisian theatre playing host to a runway show, 22-year-old music producer Frédéric Sanchez was on the cusp of his fashion debut. He’d been invited to collaborate with a new acquaintance and a former Jean Paul Gaultier assistant named Martin Margiela. It was a seminal moment for both men — Margiela was also making his own debut. As the now-iconic Tabi boot made its first appearance, leaving its cloven footprint in red paint as the models walked along the runway, Sanchez provided the soundtrack.

“We had the same ideas about fashion, music, sound, how to create,” Sanchez recalls. To compliment Margiela’s unconventional design approach, instead of mixing, he made a sound collage using reel-to-reel tape. “I was editing music, like, in cinema,” he says. He also placed microphones in the backstage area, “so when people were entering the show, they could hear what was behind, what had been in the head of the designer.” It provided an unfettered peek into the mind of the elusive Margiela, who would come to be known as fashion’s “invisible man,” categorically turning down interview and photo requests.

Sanchez has since made a career out of collaborating with designers on a conceptual level, his carefully-curated, cerebral soundtracks cementing his place as one of fashion’s most respected show music producers. He’s matched Miu Miu with movie dialogues pulled from the films of Visconti and Fassbinder; he’s mixed Metallica and Beyoncé together for pop culture aficionado Marc Jacobs; played Britney Spears’ “Work Bitch” for an empowerment-themed Prada runway; and staged a Margiela promenade in half sound, half silence.

Sanchez is the master of a minimal soundtrack. He loves the idea of a “soundscape, layers that you don’t really notice at the moment of the show, but maybe a few hours later, you’re going to think about. Almost like a perfume that stays on your clothes. Sound is not like an image,” he continues. “It’s much more. If you have five people who listen to a sound, they might come away with five different impressions. That’s something I really like. There’s something quite magical about it.” The idea of audio-storytelling reverberates through Sanchez’s work. “Someone like Orson Welles when he was doing radio, sound illustrators in the ’50s and ’60s, they were almost doing films with sounds. This was very inspirational for me about how sound can be.”

Even at a young age, Paris-raised Sanchez intuitively connected with sound. His earliest childhood memory is his grandfather listening to Spanish radio. Abbey Road, the Beatles album his sister brought home from London when he was six or seven, acquainted him with the idea of music as a vehicle for storytelling. “I really fell in love with that record,” he says. “The second side, there’s no gap in between songs — it’s almost like you have one track.”

Music was also Sanchez’s gateway to fashion. As a teenager he “was really into” Joy Division and New Order, who had album covers by Peter Saville, the same graphic designer who worked on Yohji Yamamoto’s iconic lookbook-style catalogues in the ’80s. After dropping out of college, Sanchez dabbled in public relations work, first at a theatre and opera house, then as the assistant to fashion publicist Michèle Montagne. There, Sanchez recalls, “It was this environment of all these very creative people. She was working with Martine Sitbon,” who would soon be named creative director of Chloé, and “whose husband Marc Ascoli was the art director for Yohji [Yamomoto] at the time.” It was just before Sitbon started working with Helmut Lang.

“After three months,” he says, “I realised that public relations was really not my thing.” But a seed had been planted. “I was always playing music in the office. Once, Martine had a problem with her soundtrack, and Michèle told her, ‘Ask Frédéric — he knows music really well.’ She explained her collection to me, I pulled together a lot of records and ideas, and I started to think: maybe there is something to do with this.”

At the end of the ’80s, when Sanchez first delved into show soundtracks, “most of the shows were still in the format of the ’70s, which means a very, very long show,” he says. “There were 150 outfits, all with different themes. Usually there was one [type of] music by theme, so it was not continuous.” His first show with Margiela in 1988 was “25 or 30 minutes” long, he estimates. “Now, a show is eight or 10 minutes.”

The process of creating a show soundtrack depends on the client, Sanchez says. “With Miuccia Prada, it starts with incredible conversation about the clothes, the fashion, but also politics, what’s happening in the world. With someone like Rei [Kawakubo of Comme des Garçons], she’s not going to talk, but it’s very important for her to show me the clothes.” For her Spring/Summer 2015 show, Kawakubo simply gave him the word “red” as a starting point.

Sanchez characterises the process as a duet between the designer and himself, a creative back-and-forth that takes about 40 hours of work from start to finish. The working period can span months, a few days or, in an extreme case, overnight. “With Guillaume Henry from Nina Ricci, I’d only worked with him once before, so for the [recent] October show, we started working in July,” Sanchez says. “With [Miuccia Prada], we start maybe a week before the show. But it’s different. Because I’ve worked with her for 20 years, I’m looking for sound for her all the time. It’s not like I arrive a week before and say, ‘So, what are we gonna do?’ I already have all these things in mind.”

Sanchez is constantly researching. “We have over 100 hard drives [in my studio] covering every kind of music: classical, opera, experimental jazz, music scores,” he says. “Plus, I’m buying records, films, books almost every day. In the beginning [of my career], I was always going to record stores, but now with Amazon and eBay, it’s nonstop. I’m always reading about experimental music from the ‘50s, ‘60s and ‘70s; when I read something I don’t know, I go on the Internet and then, maybe this artist is related to this artist… suddenly you have a huge vast world [to research and discover].”

With Kawakubo, a sort of kismet happened this past season. Sanchez had been watching David Lynch’s Blue Velvet when he saw “this band I really like, Tuxedomoon, was going to release a record about Blue Velvet. I got a copy from the record label, listened to it and thought, ‘Maybe I should keep that for Rei.’ When I arrived at her studio a month later, I showed her the record, and she said, ‘You’re kidding. That’s something I’ve been thinking about also.’”

Often, Sanchez and the designer will decide on the base of the soundtrack — a general direction — and make tweaks as the show nears. “We build up the soundtrack as the collection and the styling [are decided],” he says. “The hair, the makeup, the attitude you want to give to the models, the venue — all these things are important to creating the soundtrack.”

“You have to be flexible,” he maintains. “It’s something you learn with fashion — it’s better to be quick and flexible. With theatre or film, you have something like eight months [to work through the creative process]. Two years. [With fashion,] it’s really quick and there’s no rehearsal. Often it’s a little bit like by magic that things happen.”

Indeed, sometimes shows don’t happen as planned. A few seasons ago at Marni, there was an unexpected power failure. “We had to do the show with no lights and no sound,” Sanchez says. A similar situation happened at a Givenchy men’s show in 2011. “I pushed the button, and everything stopped,” he recalls. “That’s the interesting thing about fashion — everything is last-minute. You can’t control everything.”

Flexibility can also mean having to change an entire soundtrack immediately before a show. “Once, for a Vuitton show with Marc Jacobs, we had the soundtrack almost finished the day before, when I realised that Gucci had done the same thing. We changed the soundtrack completely, overnight.” Sanchez prides himself on creating “made-to-measure” sound for each show. “For me, it’s very important to give this exclusiveness,” he says.

To that end, he sometimes composes an original piece for a show. At Calvin Klein this past season, “I had the sound moving in the space — it’s something that I do for my personal work, and so Francisco [Costa] asked me if I could do it for the show,” Sanchez says. “They built four huge speakers in the room, and with computers, I made it so that in a certain part of the space you could hear certain elements of the soundtrack — the sound was moving the whole time.” Each person in the room heard something different.

In a way, the runway soundtrack is one of the last pieces of fashion to remain exclusive to the people sitting in the show venue. Because of music licensing and copyright issues, the soundtracks Sanchez creates are often replaced in the videos of shows that appear online. “What people are listening to on the Internet is not what people are experiencing at the shows. [Only] during the livestream can they listen to [my soundtrack online]. Usually the sound is changed, because the rights [to the music] would cost a fortune.”

Thus, Sanchez creates his soundtracks “for a live performance,” he says. “The way you experience the show live in a big room is not the same thing as when you experience it on the screen. What you see is very different, which means that when I look up my work on the Internet, I [usually] wish to do something else.” Indeed, when it comes to the soundscape, Sanchez thinks designers should do more to consider the experience of the online show viewer. “I think there’s a lot of things still to be done with this.”

An Other Mag – 6 Octobre 2015


The Sensational Sorcery of Comme des Garçons

Rei Kawakubo presented a powerful meditation on blue witches for her fearless and extraordinary S/S16 collection

There are fashion designers and then there is Rei Kawakubo, occupying a space all of her own: a space filled with power, emotion, fearlessness and even love. She is both mythical – an inspiration to every generation that comes after her – and a sorceress, working her magic in the creation of ever more extraordinary garments (to use the word loosely). How apt, then, that her latest offering was a meditation on « blue witches ». Every season, those privileged enough to witness her collections are given one or maybe two words to describe them and that is what she said. She likes her audience to come up with their own interpretation of her show and these gnomic statements only serve to fuel that fire.

In fact, this is not the first time she has explored the subject. In this designer’s eyes, witches are strong women, often misunderstood, who use their force for the greater good. The fact that she clearly identifies with them is poetic but not surprising. Rei’s blue witches appeared preternaturally in tune with the elements, the natural, the supernatural, the mystic… And it says quite something that such grand themes were explored and evoked in the Comme des Garçons S/S16 collection – within only 16 looks.

The Magnificence of Fabrication

What magnificent looks they were. Crafted principally in faux fur, from astrakhan to leopard, they sprouted tubular extremities, and were so huge that models’ slender frames were dwarfed by them. What looked like wet – or possibly oil damaged? – feathers enfolded narrow torsos. Huge cotton ruffles wound their way round circular structures, and even huger crossover straps gathered garments to the body from behind. The pointed toes of shoes – flat and in black patent leather – were directed to the heavens. Plasticized wigs, as big and fluffy as passing clouds, only added to the monumental nature of it all. The designer’s brief to Julien d’Ys, long responsible for the hair and make up of the house, was simply « red » – and how brilliantly that worked.

The Magic of Coincidence

The original swatches of faux fur, sourced in a factory specialising in the material in Spain, just happened to be blue, and Kawakubo fell in love with them. She then started thinking about Blue Velvet, David Lynch, and Isabella Rossellini – and about how such a beautiful woman ended up central to an intrinsically evil world. That brings us to the soundtrack, put together by Frederic Sanchez the day before the show. Call it (almost unbelievable) coincidence, or just witchcraft, but the music he brought with him was the yet to be released Blue Velvet Revisited, an album of tracks by young musicians all inspired by the film. From romantic, classical interpretations, to strangely unsettling animalistic sounds, it couldn’t have been more perfect. The music then moved on to Julee Cruise’s mesmerising Mysteries Of Love, and then ultimately to Rossellini’s performance of the film’s eponymous song. Like Shakespeare’s fool, that final unashamedly nostalgic gesture released the tension, bringing a smile to the lips of all in attendance.

The Alchemy of Kawakubo

Five seasons ago now, there was a revolution at Comme des Garçons. The woman behind it all made the unprecedented decision that she would no longer set out to make clothes for the runway and that, instead, her women’s ready-to-wear presentations would work more as an exhibition – from which a full collection (on display in the label’s Place Vendôme showroom for the days following the show) would spring. And so, here were presented fuzzy blue velvet separates, the black tailoring that the name is known and loved for, knitwear, bags, footwear inspired, as it always has been, by the masculine wardrobe all of which will go on sale in Comme des Garçons stores and in Dover Street Market – a retail concept transformative in its own right – six months from now. The catwalk looks themselves sell for five-figure sums and are bought mainly by collectors.

It is surely significant that the venue of choice this time around was the loud, proud Le Centorial (headquarters to financial powerhous Credit Lyonnais). However Rei Kawakubo presented her collection not in the splendid upper storeys of the building, where other designers have shown in the past, but in its depths – the smallest, most humble space available, and with exposed piping overhead. The plywood runway was so narrow that models struggled to pass each other and the audience could – and in at least some cases did – reach out and touch the clothes. The symbolism of this location alone – and its relationship to a woman behind a multi-million dollar name who, after more than 45 years in the industry, remains at the height of her creative power – needs no explaining. Magic.

An Other Mag – 30 Septembre 2015


Palimpsest: The Absence and Presence of Miuccia Prada

Jo-Ann Furniss explores the autobiography of Mrs Prada’s newest collection, and how she is the perfect imagineer for the fashion universe

Photography Federico Ferrari – Text Jo-Ann Furniss

Miuccia Prada was not present at the showing of her Spring/Summer 16 womenswear collection in Milan – and yet her presence could be felt everywhere. It was a Prada collection and show par excellence – both strangely familiar yet strangely strange. In OMA’s floating set, suspended sheets of curved and corrugated fibre glass and plastic were a ghostly mimic for a rougher, metal, real world version of events. So too were the clothes, where the bourgeois tweed suit became almost a delicate apparition, reworked in transparencies, sometimes intercut with aprons of original, traditional tweed. Then time would almost be literally sliced, in clothing made from strips of fabric in patent leather, fur, or the finest couture fabrics. Were these 20s Art Deco stripes? 60s youthquake signifiers? Signs of the sportswear of now? Or was this simply something of the future built on the many iterations of the past?

« Miuccia is always looking for the ‘tipping point’ – something slightly uncomfortable and unconventional. She has no fear in challenging people’s perceptions of beauty » – Guido Palau

What was taking place in fact seemed to be a rushing together of the past, present and future, an almost autobiographical overview from the person of Miuccia Prada – who was herself both there and not there (a personal emergency meant that she wasn’t physically present at the show). Her long-term collaborator Frederic Sanchez’s auditory accompaniment was composed of ghostly snatches and layers of jazz, which he defined as “A disorientation of time, where your head is full of memories – fragments of a life.” The stylist of the show, Olivier Rizzo, described “Miuccia’s life as an eccentric clash of culture and knowledge. Where there are so many years of her looking at the world and of her being in the world.” The show’s hairstylist, Guido Palau, created hair that purposely traversed the lines of kiss-curled flapper, skin girl rebel and ‘baby-fringed’ scally girl, “There is an idea of tricking the eye – it could be seen as nostalgic but it isn’t, » he explained. « There is always something else at work, something strange. Miuccia is always looking for the ‘tipping point’ – something slightly uncomfortable and unconventional. She has no fear in challenging people’s perceptions of beauty.” For Fabio Zambernardi, Miuccia Prada’s design director, “There were so many layers of information, but Miuccia ultimately thought it should be beautiful and chic. We simply wanted to do something chic for a Prada woman with experience and knowledge who likes beautiful clothes. That’s why Miuccia became obsessed with suits. Of course she gets bored of suits in a second! But that is why they also became an obsession for her.”

View Gallery 19 images
Prada perfection: Even when it’s wrong, it must be absolutely right
“’Who is this woman who wears a suit? Is it too old? Is it wrong?’ Very often she likes to hate things. She hates things so much it suddenly becomes what she likes!” So says Fabio Zambernardi, of Miuccia Prada’s spin on the Socratic Method that is her design process. In the world of Prada, perfection is paramount, but this is a perfection that is not easily won: even wrongness has to be absolutely right.

“The sensibility, knowledge and knowhow at Prada – a creative, sensitive and emotional combination – is like nowhere else,” says Olivier Rizzo. “To work for somebody so incredible, so legendary and larger than life as Mrs Prada, together with the wonderful Fabio Zambernardi – it’s like heaven. With the fashion show you are constantly challenged in a good way; every fibre of your being is challenged creatively, emotionally and mentally. You question yourself so much and Miuccia Prada encourages rebellion as a state of mind – she is constantly questioning and challenging herself, she sets the example. It is her detail, thinking process and freedom that opens up everything, that looks at and creates all the possibilities. Everything has to gel for a show, everything – and the openness of mind and courage it takes for her thought and word process blows my mind.”

« Miuccia Prada encourages rebellion as a state of mind » – Olivier Rizzo

Of course, Miuccia Prada knew every finite detail and process of her latest show and collection – she was there until its ultimate completion. But perhaps where her spirit was most present was in the rebellious, chic, wrongness of it all – the sort of wrongness that only Miuccia Prada as a designer can make seem absolutely right, and right now. The figure of Tutankhamen and the 20s Egyptian revival could be found in those coats made of strips of gilded python and delicate suede, as well as in make-up artist Pat McGrath’s gold lips; the ghostly versions of 90s Prada past, made transparent in brown and orange stripes; the fabric veils draped across the models’ chests, original fabrics from the 20s, unique and rare with a finite supply fully utilised for the show; the purposely plodding knits and prints layered underneath and throwing everything off… “When I was eight years old my grandmother decided to make me a sweater and asked me to choose the colours,” says Fabio Zambernardi. “I was very excited, so excited I actually could not choose… In the end I chose brown and yellow! As a kid Miuccia was also attracted to things that were so horrible and ugly, colours so wrong they become right.”

In the latest collection such wrongness of colouration was everywhere present, but particularly in the home-style domesticity of the knitted sweaters layered under elegant flapper dresses, or the ornately embroidered suiting of the finale. A touch of childlike domestic glee that could also be found in the key print of the show, again layered under elegant suiting or dresses, yet looking like a child’s bedspread or wallpaper. Here the details are a race car, a rabbit and a rocket – Miuccia Prada’s eldest son is a race car driver, the rabbit is for luck and the rocket for the future. Such autobiographical signs and symbols of Miuccia Prada can be found everywhere in the collection, as they can be in all of Pradaland – including one of its newest attractions: Fondazione Prada.

Prada-art-land: Fondazione Prada
On the outskirts of Milan, towards Linate Airport, lies the Prada Foundation. In a former industrial complex – a distillery dating back to the 1910s – Rem Koolhaas’ OMA has designed a home for the Prada Foundation and an art collection as idiosyncratic and personal as the S/S16 show. While other corporations present a fundamentally idealised, power view of themselves through art acquisitions to the outside world, Prada’s is distinctly different.

Weird, domestic, warm and witty – while at the same time displaying impeccable personal taste – it is perhaps the most revealing corporate art collection in the world; so wrong at projecting power, it’s absolutely right. Full of blind alleys, staircases to nowhere, nooks and crannies, it is almost as if the art is happened upon by accident at times in this diverse complex of buildings, giving the distinct feeling that you are exploring somebody else’s world, with particular clues to who these people actually are. And, quite frankly, they are mad people – in the best possible way. Less concerned with an ostentatious display of cold, blank power and more with a funfair flair for aesthetics as entertainment, the complex is dominated by a golden tower, only accessible at set times for restricted numbers, called the Haunted House. The Haunted House is home to a Louise Bourgeois installation from 1996 called Cell (Clothes). With traces of the artist’s life through clothing – from ghostly children’s clothes to elegant, grown-up eveningwear – it is perhaps the clearest link in spirit to the present Prada collection: an oddly moving, mixed media biography.

Downstairs, in one of the adjacent gallery buildings, is another clue to the present collection. In David Hockney’s Great Pyramid at Giza with Broken Head from Thebes (1963) is a figure seemingly wearing a coat from the show: a gold and green striped tunic, not unlike model Molly Bair’s look. In the Prada Foundation it is clearer than ever that Miuccia Prada is one of the great ‘brand auteurs’ and a ‘fashion imagineer.’ If any designer is making pop art today – and at this point it makes far more sense for it to occur in the realm of fashion than fine art – it could be credited to Miuccia Prada. With her synthesis of high and low, her unashamed embracing of the consumer experience mixed with a little bit of poisonous doubt in the sugar-candy desirability of her clothing, this commercial, self-referential form of pop becomes post-pop, and she is the Disney queen of it.

Madame Figaro – 25/26 Septembre 2015


Olivier Saillard – Historien de la et directeur du Palais Galliera
« Je l’ai connu par l’intermédiaire de son compagnon ,Gaël Mamine, l’un de mes plus grand ami, archiviste chez Balenciaga. J’ai eu un coup de foudre pour Olivier. Il est tellement brillant ! Nous avons la même sensibilité artistique, on peut parler des heures d’Azzedine Alaïa, de Rei Kawakubo ou de Martin Margiela. J’aime cette passion qui l’anime quand il monte des expositions de mode pour le grand public, cette envie de sortir du microcosme. Il m’a encouragée avec tact lors de ma première collection , en me disant: « j’aime profondément ce que tu fais. Tu es une auteur pas une suiveuse ni une copieuse. Alors vas-y ! »»

Frédéric Sanchez – Illustrateur sonore
« Il conçoit les bandes sonores de mes défilés. Nous avons croisé nos univers artistiques avec beaucoup de douceur et de fluidité. Je n’imaginais pas, derrière son personnage plutôt réservé, l’immense poésie qu’il a en lui. Il m’inspire énormément et je trouve merveilleux qu’il s’exprime aussi à travers  ses photos et ses vidéos.

Il a aussi effectué un travail sublime comme commissaire de l’exposition Gainsbourg à la Cité de la musique, en 2008. Il voit les choses sans hiérarchie; seule la dimension artistique l’intéresse. Récemment, il m’a dit qu’il aimait travailler avec les femmes créatrices, et il m’a citée aux côtés de Miuccia Prada et de Rei Kawakubo. »

Kamel Mennour – Galeriste
« J’admire son histoire, son parcours, la façon qu’il a eue de suivre dès le départ une ligne droite, représenter des artistes qu’il aime sans s’éparpiller. D’ailleurs, le fait que Daniel Buren soit fidèle est un signe. Depuis notre rencontre à la Fiac, nous nous sommes liés d’une douce amitié, et j’aime sentir sa présence à mes défilés. Récemment, il m’a fait un joli cadeau :  il m’a invité, en pleine effervescence de la Fashion Week, à visiter en privé sa galerie. Ça m’a fait un bien fou de m’échapper de ma bulle de travail et de sentir cette belle énergie qui circule autour de lui. »

Véronique Nichanian – Directrice artistique de l’univers masculin Hermès
« Avec Rel Kawakubo, elle est l’une de mes créatrices préférées, je regarde ce qu’elle fait depuis toujours. J’aime sa constance, ça vision et le fait qu’elle a dépassé l’idée même de mode pour installer un chic intemporel. J’adore la passion qu’elle met dans son travail, sans esbroufe, avec un côté structuré et souple à la fois. Je la rejoins sur cet amour qu’elle porte à la matière, point central de l’édition d’une collection. »

Je ne rate aucun de ses défilés. J’adore sa rigueur, ses choix de couleurs, son sens des lignes. C’est une fille enthousiaste, sincère, fidèle aux gens, avec du discernement. Bref, c’est une belle personne !

Ce qu’elle crée est assez proche des lignes plastiques que je défends. Elle fait des vêtements justes, purs, sans excès ni subterfuge, avec une trame personnelle qui se renouvelle chaque fois.  Notre rencontre a été une sorte d’évidence.

Notre histoire est précieuse. Nous avons un rapport privilégié. Un vrai dialogue s’est instauré, facilité par le fil directeur de ses collections. J’aime sa sensibilité, sa poésie, sa détermination. Bouchra m’inspire, elle est comme une musique de film, un parfum.

J’aime son exigence et sa pugnacité. Ses collections sont toujours très bien réalisées. Elle est comme un tailleur pour dame. Derrière cette volonté de fer qui la caractérise, c’est aussi une fille qui aime la vie, qui danse et qui rit. chaque été, je l’emmène à la fête foraine des Tuileries; aux autos tamponneuses, j’adore lui rentrer dedans !

BOF Prada Printemps/Été 2016

Capture d’écran 2015-09-25 à 17.18.23

A Spacey Flight of Fancy at Prada
Miuccia Prada wove more of her eerily dissociative magic, but will it cast its spell on a market that seems increasingly resistant to such blandishments?

MILAN, Italy — At first, the jacket and skirt looked like a bourgeois suit. Tweed and plaid. The conservative norm. But such a thing only exists for Miuccia Prada to turn it on its head. The skirt turned sheer, the jacket went pyjama, a mystery veil appeared from somewhere and stayed (for the record, they were real antique veils, the last stock of a company that specialised in such items in the 1920s and 30s).
There were sheer dresses with dropped waists that suggested the 20s — the Art Deco undertow was reinforced by the hair and makeup, gold lipstick and perfectly pasted-down bobs suggesting creatures from a Chiparus sculpture. The striped jacquards evoked Prada’s turning-of-the-tide “pretty/ugly” collection from Spring 1996, the prints of rockets, rabbits and cars, carried over from the last menswear collection had a spacey naiveté. The metallic bauble on a pointy flat? Straight outta Ballets Russes… There were layers upon layers of associations — which soundtrackist Frederic Sanchez (Miuccia herself absent due to a death in the family) artfully defined as “fragments of life”.

Which was just like his music, another of his signature hallucinatory blurrings of eras and sounds: Belgian chanteuse Viktor Lazlo crooning « Cry Me a River », Lydia Lunch’s no-wave anomie, the big band of Carla Bley matched to the edgy atonality of Siouxsie Sioux. The resulting aural stew was like post-apocalyptic cocktail music. Before the show, negronis with a significant kick were served. Afterwards, the passed canapés included specific items that Mrs P remembered from her parents’ parties in the 1950s.

How convincing — or even relevant — is such a cumulative mass of detail? Does it rationalise the co-existence of a cricket sweater, sore thumb in this context, and sensationally striped leather suits? The lack of a seamless whole must have delighted Miuccia. She has always loved kicking against the traces. But in so doing, she opens the doors of perception to multiple interpretations. That seems appropriate to a fashion proposal as wilful as Prada’s.
So, here goes. Think of the new Prada collection as a cocktail party for the strung-out wives of space jockeys. That rocket print was one cue, the neat little suits another. Consider the bauble earrings, the flat silver boots, the thicket of flying saucer paillettes enveloping shoulders, the canapés wrapped in plastic like astronauts’ freeze-dried food… booze and barbiturates accounted for the narcotised music. And then, a finale with more paillettes, translucent and luminous — like starlight, viewed through the bottom of a tumbler.

Business of Fashion – 21 septembre 2015


New Calvin meets Old Hollywood
Francisco Costa’s distressed glamour was a wonderful blur of sensuous sequinned slips, silken floor-length florals and sensational silk trousers.

NEW YORK, United States — Francisco Costa was working on womenswear at Gucci in 2001 when Tom Ford stirred up controversy with his “Marilyn Monroe” collection, and even more with the Kate Moss campaign that accompanied it. So, Costa has form with blonde bombshells.

For his latest Calvin Klein Collection, he was thinking about Jean Harlow, the original 1930s bombshell, whose publicity shots often featured her in a silk charmeuse slip dress that could, in another era, have slunk straight off Calvin’s catwalk. One of Harlow’s most famous movies was Dinner at Eight. Costa imagined her the morning after such a social event, a little worse for wear, a little déshabillé. “Distressed glamour,” he called it. “Deconstructed, decadent.” It was obvious why they were called slip dresses. These examples slithered and drooped over the models’ bodies, deemphasising their natural assets. Decadent, maybe, but also oddly naïve — an impression that was reinforced by the unfinished hems and seams. Julia Nobis’ chain-mail knit was laddered to rags. Even the silk sneakers were frayed. The coats were so big and raw they looked like a child’s idea of a coat, like a work in progress. Same with those dresses loosely suspended from straps.

Costa claimed he didn’t usually pay much mind to evening-wear, but this collection had some of the evening before the morning after in the long, sensuous lines of slips lightly glossed with sequins, or silken floor-length florals and some sensational “silk garter belt” trousers. Costa outlined the dresses with slender chains, to which he’d attached little charms and found objects. Jean Harlow? No, Joan of Arc, he said. Martyrdom, medievalism… where did they come from? But then, Costa has always been snappy with an obscure reference.

Frédéric Sanchez contributed a perfect musical counterpart in a soundtrack that mixed Nina Simone, Massive Attack and the Orb into a narcotic blur. The morning was, in the end, all a beautiful dream.

Dazed digital – 24 septembre 2015

Backstage at Thomas Tait SS16
Photography Daisy Walker

Stream London Fashion Week’s most electrifying soundtrack
Cult composer Frédéric Sanchez offers up his twisted take on Thomas Tait SS16 with a synth-ridden mix

Nobody epitomises the sound of fashion more than Frédéric Sanchez, the cult Parisian producer who has been lending his musical talents to the runways of Prada, Comme des Garçons, Margiela and Miu Miu for over 25 years. This season, the synth hero crafted a hard and bass-heavy mix for young, agenda-setting designer Thomas Tait, who’s cosmic-inspired SS16 show took London Fashion Week and made it face firmly to the future.

Speaking about the soundtrack to Dazed, Sanchez explained: “Thomas Tait is full of energy. Before making the soundtrack, he sent me emails with a lot of images of what he’s doing as well as the fabrics he’s using, so he gives you a lot of mental images that can be really great to create a soundscape. Like space itself, we wanted to create something that was quite tough and electronic, but at the same time had a lot of poetry.”

“Because his collection was so contemporary, we thought we should look less to the past and talk more about what is happening now, and in the future. There’s an interesting new wave of electronic artists around at the moment, although many of them are inspired by incredible artists from the 70s and 80s like John Carpenter, Kraftwerk, Brian Eno and Alan Vega. The artists I have used are very strong, and the soundtrack is quite cinematic. It is about the future, but also about today.”

Numéro – 18 septembre 2015


La playlist de… Bouchra Jarrar et Frederic Sanchez
Bouchra Jarrar et Frederic Sanchez, le célèbre illustrateur sonore des défilés de la créatrice, partagent avec Numéro une playlist délicate et poétique.


Document Journal Automne/Hiver 2015


Document Journal Fall/Winter 2015, guest edited by Olivier Rizzo
Document launches its FW15 issue with a special guest edited edition by Olivier Rizzo and 12 covers by Willy Vanderperre, Alasdair McLellan, Guido and Harley Weir, Craig McDean, Jamie Hawkesworth, and Wolfgang Tillmans.

Document launches its FW15 issue with a special guest edited edition by Olivier Rizzo and 12 covers by Willy Vanderperre, Alasdair McLellan, Craig McDean, Jamie Hawkesworth, Wolfgang Tillmans and Harley Weir.
In this, the seventh issue of the magazine, Document collaborates with the legendary stylist and explores all facets of Rizzo’s inspirations and collaborations, including conversations between Miuccia Prada and Alexander Fury, Willy Vanderperre and Alix Browne, Giorgio Moroder and Deborah Harry, Boyd Hollbrook and Kris Van Assche, as well as revealing conversations with Jo-Ann Furniss and Raf Simons.
Additional profiles include Frederic Sanchez in conversation with Laurie Anderson, Vaginal Davis by Bjarne Melgaard, Delphine Arnault by Jo-Ann Furniss, Roselee Goldberg by Shirin Neshat, Andrea Rosen by Miranda July, and superteens Jack Andraka and Adora Svitak in conversation.
Additional features include an oral history of the legendary skateboard brand Powell-Peralta, who heralded the movement for the past four decades, and an unreleased screenplay by enfant terrible Bruce LaBruce.
Original artist portfolios include Wolfgang Tillmans, Jenny Holzer, Peter De Potter, Berlinde De Bruyckere, and Francesco Vezzoli. The 300+ pages of fashion include Willy Vanderperre in an epic 100+ page portfolio, Alasdair McLellan, Guido and Harley Weir, Craig McDean, Jamie Hawkesworth, and Gareth McConnell, alongside a special exclusive project with Fabio Zambernardi.

Document Fall/Winter 2015 launches October 3 and will be available exclusively at The Broken Arm Paris, Dover Street Market London, 10 Corso Como Milan, Dover Street New York, and Bookmarc Los Angeles. The issue will be available at all stores October 8th.

sept. 162015

Dazed – Aout 2015


The cult composer behind the most iconic runway moments
With his sounds shaking up the speakers of Prada, Comme des Garçons and Miu Miu, we look back on the legacy of Frédéric Sanchez

With his carefully curated soundtracks blasting out from the speakers of Prada, Comme des Garçons, Margiela and Miu Miu, Frédéric Sanchez has become a catwalk icon in his own right. Whether he’s transporting you to another time with his live compositions or mixing up Metallica and Beyoncé, his vast and varied tastes have changed the game for fashion soundtracks. After speaking to Editorial Director Tim Noakes about his already formidable legacy at the Dazed Fashion Forum this weekend, we pick out some of his career-defining moments.


To accompany Miu Miu’s sultry 2009 show, Sanchez dusted off his 70s cinema collection – scrapping music for soft-spoken European dialogue. Setting a disquietingly sensuous scene, the show featured scores and sex-fuelled conversations from a number of romantic classics (including the films of Luchino Visconti, Rainer Werner Fassbinder and Barbet Schroeder).


With two sunken orchestra pits hidden away in the shadows, this marked a dark and mysterious start to Prada’s AW season. Once again inspired by the German noir aesthetic of director Rainer Werner Fassbinder, Sanchez used cult actress Barbara Sukowa’s vocal talents to resurrect the gloomy spectres of 20s composers Kurt Weill and Arnold Shoenberg.


Combining the sleek raven-chic of Parisian designer Martine Sitbon with the drones and thrashes of experimental band Hovercraft, Sanchez claims this was one of his all time favourite fashion collaborations. “I really loved that show,” he remembers. “The music, very violent and poetic, had no reference at all. An important side in my work, beside creating mental images, is to take the audience on a sound journey.”


The eerie drones returned for this bloodthirsty Comme des Garçons’ show, with Sanchez creating an atmosphere so heavy it was almost suffocating. Given just the word ‘red’ by Rei Kawakubo as a starting point, he ended up pulling together tracks from metal bands Earth and Sunn O))) to add another, darker layer to the already savage show.

juil. 202015

Dazed – July 2015


We admit it; the fashion industry has a pretty bad reputation for being hard to crack. You’re interested, sure – but how do you actually get an internship? Or start your own label? Or get your work seen by the right eyes?

Introducing the Dazed Fashion Forum, a day long event coming soon to the Amazon Fashion Photographic Studio in Shoreditch, designed to break down the barriers and bring the best names in fashion directly to those who want to find their feet in the industry. Happening on the 25th of July, the day will feature the likes of Louis Vuitton’s menswear style director Kim Jones unpacking the subcultural references behind his collections; designer Gareth Pugh explaining how he went from squatting in a Peckham department store to getting his graduate collection on the cover of Dazed; our co-founder Jefferson Hack going head to head with Diesel creative director Nicola Formichetti on youth culture tribes; make-up alchemist Isamaya Ffrench on pushing the boundaries of beauty for designers like Junya Watanabe; and much more from AnOther Magazine Fashion Director Katie Shillingford, filmmaker Ruth Hogben, writer Susie Lau, designer Ryan Lo, editor Reba Maybury and others.

There’ll also be a chance to hear from fashion’s unsung heroes who have the jobs you never knew you wanted (like composer Frédéric Sanchez, who’ll be revealing what it’s like to make mixes for Miuccia Prada and Rei Kawakubo to use in their shows) and live demonstrations throughout the day, including Rankin shooting members of the audience – styled by Senior Fashion Editor Emma Wyman – for the pages of Dazed. London designer Claire Barrow will be painting portraits, which you can get printed on your very own custom t-shirt, and set designer Gary Card will also be getting his hands dirty.

“Dazed Fashion Forum is open to all young creatives who want to break into fashion and media,” explains Jefferson Hack of the event. “It’s about leftfield thinkers, sharing radical ideas, opening up new possibilities and showing how youth can break into the industry and make a mark.” “Amazon Fashion is proud to be partnering with the Dazed team to bring the Fashion Forum to life,” adds Juliet Warkentin, Director Brand and Creative at Amazon Fashion EU. “This is a unique opportunity to bring creative role models together with young people just breaking into the industry. We believe in nurturing emerging talent and this is an inspiring project to be involved with.”

If you fancy covering the event for Dazed, tell us, in 200-300 words, what you think is this year’s biggest fashion moment so far and why. Send your answer to – winners will have the opportunity to interview any of the line up for a piece to be published online, and runners-up will also get free tickets.

Numero – July 2015


Bouchra Jarrar Couture show fall-winter 2016 collection
FASHION WEEK July 10th 2015
Numéro talked to Bouchra Jarrar and her sound designer, Frédéric Sanchez, just after her couture show at Paris’s Lycée Henri IV.

Numéro: Let’s talk about the importance of sound in Bouchra Jarrar runway shows. Each season, rather than a classic soundtrack you use a collage of music and spoken words, taken from film clips, that are essential for telling the story of your show.

Bouchra Jarrar: Yes indeed, they’re compositions. Frédéric Sanchez is someone I talk with a lot when I’m preparing my collections. He’s influenced me enormously – he’s like an artist brother. I talk to him a lot about sensations, about feelings… He’s someone I need so as to be able to tell my story. When I’ve found my central theme, once I’m at the stage of pure creation, that’s when we start to exchange ideas, four to five weeks before the runway show. We imagine a story, but without necessarily translating it into words, and we borrow from the words of authors we like. Today it was Agnès Varda.

Frédéric Sanchez: Our exchange is crucial, but the venue is also very important. The question is, how can you inhabit this space with sound? This was my high school, so my school memories from the 80s are mixed in with the story. I remember that at the time Jane Birkin was playing in a production by Patrice Chéreau, and that simultaneously Chéreau had also produced a Mozart opera. This mixture of things is woven into the story we tell – it’s a collage of memories and emotions.

Bouchra, in this collection, you give place of honour to two colours, champagne and azure, both of which are evocative of a rather 1970s, Studio 54 sensuality, and are very refined and very chic.

Bouchra Jarrar: I created my own textiles for the collection, so I also created these exact colours. They tell a story that is both strong and diluted at the same time. To say it very simply, they’re the colours of the sky.

Among the outfits that stand out are those that combine a sleeveless trench coat with trousers – we’re a long way here from the flouncy cocktail dresses so typical of haute couture.

Bouchra Jarrar: Cocktail dresses are a reality, and I can do them, but I wanted to show something else too, something that’s closer to our everyday experience. So this season I treated my trench coats like dressing gowns, like men’s terrycloth robes.

Interview by Delphine Roche

juin 022015
Dazed – June 2015


Frédéric Sanchez’s Synth Hero mix
The enigmatic Comme des Garçons soundtrack master digs deep into his dark electronic archive
Text Tim Noakes

Every month I invite a different artist onto my Synth Hero radio show to mix up an hour of their definitive electronic influences. This time it’s the turn of Paris based composer and producer, Frédéric Sanchez. Since 1988 he has created some of the most innovative soundtracks for the world’s biggest fashion shows. In the past year alone he has scored runway collections for Prada, Jil Sander, Comme des Garçons, Calvin Klein, Miu Miu, Alexander Wang, Thomas Tait and many more.

Designers come to Sanchez because he is an expert in creating the perfect atmosphere to compliment their clothes. Unlike other show DJs who may go for obvious hits of the moment, Sanchez’s soundtracks feature everything from Sunn O))) and Psychic TV to Sigue Sigue Sputnick and Nana Mouskouri. He uses unexpected sounds to help elevate the catwalk into an unforgettable spectacle, whilst simultaneously giving the fashion industry a musical education. On his Synth Hero mix, Sanchez explore the dark recesses of electronic music. « The way I understand my relationship with the sound and the music has always been autobiographical, » he says. « For me sounds and music are like fragments that I put together in order to create an organic and personal feeling.The way I proceed is always the same either if I use existing tracks or if I compose original music as my starting point has to do with storytelling in order to create mental images. This mix is a journey in my own world and my memories. » Sit back, put your headphones on and let Frédéric Sanchez open up your mind. You might be afraid of what you find…

CHRIS WATSON – “EL DIVISADERO” (from EL TREN FANTASMA, 2011) (00ʼ00 – 02ʼ20)
« In Mexico Chris Watson was one of the last passengers to travel cross country on the train line connecting the Atlantic and the Pacific coasts just before the railroad was cancelled. He recreated the journey of this ‘ghost train’  by capturing the atmosphere, rhythms and sound of human life, wildlife and the journey itself, ‘evoking memories of a recent past’. »
« I often use audio generators in my work. I got familiar with them by listening to the work of some composers such as David Tudor. This piece was commissioned for a Merce Cunningham ballet.
ROBERT ASHLEY – “THE PARK” (from PRIVATE PARTS, 1977) (02ʼ12 – 06ʼ00)
« Robert Ashley’s voice is so evocative and enigmatic. You immediately picture situations and landscapes with his speech-songs. »
“The journalist and director Anais Prosaic did a very intimate film portrait about Eliane Radigue, one of the pioneers of electronic music. In it she says that the meaning of her work is to play with the natural performance of the electronic sounds using all the possibilities the synthesizer ARP 2500 can offer.”


CLUSTER – “LERANDIS” (from QUA, 2009) (05ʼ51 – 07ʼ35)
“Most of German electronic musicians from the 70s explain their work by saying that the war has destroyed the past. I have always found it fascinating that most of these electronic and avant-garde musics were not created in an industrial environment but in the middle of the countryside.”
“I only saw Ghedalia Tazartès perform once. It was maybe 20 years ago. What he is doing is so physical that I have never considered him as a musician.For me he is much more than that: somewhere between a singer, an actor and a dancer.”
“You get everything by reading the title of this piece. It is always nice to watch videos of him playing with his Buchla music easel.”
“I chose this piece because of the connection between sonic art and the William Burroughs cut-ups. It’s a great lesson in how to create new form of compositions and how to put sounds together.”
SECTION 25 – “C.P.” (from ALWAYS NOW, 1981) (12ʼ50 – 15ʼ10)
“I remember that I bought this record because of the cover. I still own an original copy of it and will never give it away. I also remember the great impact the music and the sound had on me. Whenever I listen to it I feel the same emotion. It is timeless.”
FRÉDÉRIC SANCHEZ – “FILM SONORE 17” (15ʼ10 – 18ʼ20)
« An extract from my last piece. »
“I recently discovered the work of Lawrence English and found similarities with my approach to sound design. I empathise with his ability to infiltrate and occupy the body and also how to listen to things in a creative way.”
ZBIGNIEW PREISNER – “LAMENT” (from DIARIES OF HOPE, 2013) (18ʼ47 – 21ʼ20)
“I find it interesting when a composer is so close with a film director, like Preisner was with Krzysztof Kieslowski. For me the soundtrack has a big part in what you remember of Kieslowski’s movies.”


“It is fascinating in this piece how Francois Bayle manipulates the voice with the help of the computer. Just with a reverb and a filter module you can get endless possibilities.”
“WIRE was one of my favorite bands from the post punk era because of their cross-disciplinary edge. Each member of the band was also commissioned tocreate variety of film music, art installations, dance projects. One of my favourite collaborations was between Bruce Gilbert and the choreographer Michael Clark. »
JOHN T. GAST – “SHANTI-ITES” (from EXCERPTS, 2015) (24ʼ17 – 26ʼ19)
“This is an outstanding new artist who describes sound as ‘An ambient enigma steeped in post-hypnagogic tristesse’. So haunting.”
“What a hallucinatory soundtrack for the Peter Care’s movie.”
TUXEDOMOON – “BLIND” (from TIME TO LOSE- BLIND, 1982) (29ʼ32 – 37ʼ03)
“In the 80s I used to spend a lot of time in Brussels which was a crossroad for musicians coming from all other the world. There is always something very sentimental for me while listening to this.”
JOHN GIORNO – “GIVE IT TO ME BABY” (from 10 + 2: 12 AMERICAN TEXT SOUND PIECES, 1975) (36ʼ42 – 37ʼ48)
“A few years ago I went to visit John Giorno at his place in New York. He was living in the Bunker: William Burroughs’s place on the Bowery. He showed me all his recordings of texts and the editions he uses to make of them. You must check out Big Ego – A Diamond Hidden In The Mouth Of A Corpse.”
“One track from one of the outstanding compilations made by the very stylish Belgian record label: Les Disques Du Crepuscule.”
WALTER DE MARIA – “OCEAN MUSIC” (from DRUMS AND NATURE, 2000) (38ʼ26 – 40ʼ26)
“Two songs from renowned sculptor Walter De Maria featuring a tribal drumming pattern and the sounds of nature. He used to play drums with The Velvet Underground and on Henry Flynt & The Insurrections’ « I Don’t Wanna ».”



EDGARD VARESE – “POEM ELECTRONIQUE” (from ELECTRONIC MUSIC SOURCES VOL 2 (1937 – 1959), 2012) (39ʼ26 – 40ʼ12)
“This piece is connected to the architect Le Corbusier who was commissioned in 1958 to design the Philips Pavilion at the Brussels Art Fair.”
JON HASSELL – “MAP OF DUSK” (from THE MYTHS COLLECTION PART 2, 1990) (39ʼ26 – 43ʼ13)
“The Myths Collection are the very first production by outstanding Belgian record label Sub Rosa.”
“Steve Lillywhite, Brian Eno, Chris Thomas, Martin Hannett, Gilles Martin… producers have always been as important as musicians for me. How to work in the studio, how to make the sound, how to record, how to mix the music.”
“I am not a religious person but when I listen to this Pierre Henry Oratorio with the very special voice of the actor Jean Negroni I can see angels.”
“Derek Jarman used this music for his movie “The Last of England ”: a beautiful moment with Tilda Swinton.”


“After the release of his masterpiece Tilt Scott Walker did this collaboration with the French director Leos Carax.”
« Very poetic soundtrack from the Philippe Garrel movie starring Nico, Anita Pallenberg, Dominique Sanda, Pierre Clementi. »
“A cyberpunk thriller movie with Rainer Werner Fassbinder playing a detective investigating a string of bombings that lead to a corporate media conspiracy.”
FRÉDÉRIC SANCHEZ – “FILM SONORE 17” (53ʼ35 – 54ʼ39)
« Another extract from my last piece. »
“I always find fascinating voices, sounds and music through airwaves. Most of the time you can listen to them clearly but sometimes they are just snatches. It is very similar to watch the stars in the sky at night, you have no idea about their distance, you see them appear and fade away but the all experience is so poetic.”
LOU REED – “PART 1” (from METAL MACHINE MUSIC, 1975) (56ʼ39 – 59ʼ36)
“In a world sometimes so plain and politically correct maybe this record should get visible again. When it came out the big joke was how many people could get to the end. On the other hand this record opened so many doors that other artists have been beyond. What I appreciate with this work is how the sound becomes more and more organic and mental.”


AnOther Magazine – Mai 2015

Frederic Sanchez on Miu Miu’s Afrobeat Inspirations
May 26, 2015

The illustrateur sonore discusses collaborating with Mrs Prada and the afrobeat influences for Miu Miu A/W15


Text Olivia Singer

The soundtrack to a fashion shows is an element that can completely transform the atmosphere of a collection, and Frederic Sanchez has spent his career as an illustrateur sonore collaborating with everyone from Margiela to Marc Jacobs to achieve maximum impact. Since 1994, he has worked with Miuccia Prada – and for Miu Miu A/W15, his mash-up of Afrobeat-inspired eighties classics like Talking Heads and the B-52s, combined with the faux advertisements that littered Sigue Sigue Sputnik’s first album, gave a brilliant insight into the thought behind the collection.

« I work in a very special way with [Mrs Prada], » he explained. « It’s always very intimate. We speak a lot about very different things; what’s happening in music, what’s happening in the world in general. This season, there was this idea of a collection that was autumn/winter but with this idea of summer, and a certain idea of Africa – but Africa seen through the eyes of someone European. When we started talking about it, it reminded me of seeing that sort of thing happen in music at the beginning of the 80s. »


he music of the early eighties – of Brian Eno and the B-52s, Talking Heads and David Byrne – was a time where Afrobeat and tropical influences were brilliantly combined with synthesisers. Eno and Byrne’s trips across the ocean saw a new and devoted engagement to Afrorock’n’roll, to Fela Kuti and Faycal Helawi, and resulted in what Frederic Joignot and Jean-Pierre Lentin described in Actuel 1981 as a period that « sought fusion between the breaths of Africa and electronic technology. »

As Sanchez explains, this issue of Actuel featured a cover with Brian Eno, David Byrne and Jon Hassell, « and the background was this piece called The Lighting Fields by Walter de Maria. It’s this giant structure in the middle of the mountains in New Mexico, with these poles that attract lightning and they set it almost on fire. You can go to see it, and it’s like seeing a living painting. So, I thought of those different elements – and then the Talking Heads record, Life In The Bush Of Ghosts, where David Byrne sampled different recordings from African radio, and made what became called world music. It became so trendy. And that was the idea of the show. »


Combined with Sigue Sigue Sputnik’s spoof advertisments for Tempo Magazine and EMI, the soundtrack also gave a hearty nod to the consumerism of the 80s (something clearly explored through the heavily-sparkling costume jewellery adorning the ears and necks of models). « The African elements, combined with electronica, became like an urban schizophrenia. So then, we thought of Sigue Sigue Sputnik who had all that fake advertising in their records, » explains Sanchez. « And, you know the B-52s have that hairdo? I put the advertising for L’Oreal Shampoo right in the middle of their track. It’s kind of mental… like a manipulation. »

It is this wonderful sense of manipulation that arises throughout Sanchez’ work; we are taken on a strange yet brilliant journey through not only his mind, but the mind of the designers with whom he collaborates. « Because of copyright issues, my work can’t appear online, » he laughs, « the rights would cost a fortune! But it makes the show quite special and unique. Maybe it’s the last thing that we can call haute couture… »



Track Listing for Miu Miu A/W15

Mea Culpa by Brian Eno & David Byrne
America Is Waiting by Brian Eno & David Byrne
The Jezebel Spirit by Brian Eno & David Byrne
One In A Lifetime by Talking Heads
Burning Down The House by Talking Heads
Deep Sleep by B-52s
Advertisement Tempo Magazine by Sigue Sigue Sputnik
Advertisement Network 21 by Sigue Sigue Sputnik
Advertisement Pure Sex by Sigue Sigue Sputnik
Advertisement The Sputnik corporation by Sigue Sigue Sputnik
Advertisement ID Magazine by Sigue Sigue Sputnik
Advertisement Studio Line From L’Oréal by Sigue Sigue Sputnik
Advertisement EMI records by Sigue Sigue Sputnik
Advertisement Love Missile F1-11 by Sigue Sigue Sputnik

Acne Studios Women’s Automne/hiver 2015 Composition originale

Les Inrocks – Mai 2015

LesInrocks2015Frédéric Sanchez © Renaud Monfourny

Souvent cité par les journalistes de mode, Frédéric Sanchez s’est fait un nom en signant les bandes-son qui rythment les défilés des marques les plus prestigieuses. Son activité est pourtant loin de se limiter à cet exercice de style. Portrait de cet explorateur du son.

C’est une rencontre avec Martin Margiela, en 1988, qui amènera Frédéric Sanchez à travailler dans le milieu de la mode et du son. Avant cela, rien ne le destinait à cette carrière :

“J’ai toujours écouté beaucoup de musique, sans savoir exactement ce que je pouvais faire de cette passion. Elle a toujours eu une place extrêmement importante dans ma vie. La découverte de musiciens comme Brian Eno, qui a commencé par des études d’art pour ensuite envisager le studio comme un lieu où on travaille la matière, m’a vraiment influencé. J’ai beaucoup regardé du côté des producteurs, des gens qui façonnaient le son. C’est la musique qui m’a amené à m’intéresser à la mode : quand Comme des Garçons à fait défiler John Cale et David Byrne ou encore quand Peter Saville a réalisé un catalogue pour Yohji Yamamoto… Toutes ces interactions entre les disciplines m’ont amené à me questionner, à découvrir qui j’étais.”

Pasted-Graphic-1« Le Café de la gare » © Courtesy Frederic Sanchez

L’approche du créateur belge fait écho avec la pratique de Frédéric Sanchez :

“La première fois que Martin m’a invité à diner chez lui, il avait une nappe blanche parfaitement repassé sur la table. Il a froissé le tissu entre ses mains, ça a créé de la texture, fait couler la cire des bougies. Il me parlait de l’usure des vêtements, c’est cette vision qui l’intéressait. Tout cela résonnait avec la manière très concrète avec laquelle j’ai pu aborder la musique : écouter des morceaux par fragments, jouer avec le bras de la platine, faire des cassettes avec un seul morceau…”

De nouveaux arrivants qui parviennent toujours à susciter l’excitation.
Fort de cette première collaboration, Sanchez enchaîne les commandes. Il travaillera par la suite avec Hermes, Prada, Balmain, Ann Demeulemeester, Alexander Wang ou encore Marc Jacobs. La narration reste sa marque de fabrique : “Je cherche avant tout à raconter une histoire. Cela ne passe pas forcément par la musique. Il m’a arrivé uniquement à partir de bruitages.” Pour le défilé Jil Sander automne 2015, présenté en février dernier, il a mélangé les interprétations de My Funny Valentine de Chet Backer et de Nico, mettant en lumière les dissonances et les points communs.
Quant on lui demande si son travail a changé depuis ses débuts et la période faste des créateurs stars, il répond qu’il y a toujours de nouveaux arrivants qui parviennent à susciter l’excitation.
“Après avoir travaillé avec Martin, il n’y avait qu’une personne avec laquelle j’avais envie de travailler, c’était Rei Kawakubo. Je le fais depuis un an maintenant : il a fallu 25 ans pour que ça se réalise ! Depuis 3 ans, je regarde à nouveau les jeunes créateurs. À Londres, j’ai commencé à travailler avec Thomas Tait qui fait quelque chose de très fort.”

Pasted-Graphic-2« Silver » (travail photographique) © Photo Frédéric Sanchez

La musique, élément primordial dans la compréhension d’une collection.

On le sait, la musique des défilés est un élément primordial dans la compréhension d’une collection, tout comme la lumière, le maquillage ou encore la coiffure. Elle permet d’appuyer l’imaginaire développé par les vêtements. Le processus pour créer cette poignée de minutes musicales est toujours le même :
“Tout part d’une discussion avec le designer, cet échange provoque des images. Nous parlons beaucoup, ça me permet de comprendre l’esprit de la collection, que je vois rarement. Nous nous rencontrons souvent un mois avant le défilé, parfois un peu plus tard, mais tout se fait toujours très vite, souvent dans l’urgence. Avec la mode, il n’y a pas de répétition. Le défilé en lui-même est une répétition. Ce moment disparaît tout de suite après.”
Ce côté instantané est à l’opposé du travail de Sanchez que l’on peut découvrir en galerie ou en institution. Une autre temporalité s’installe :
“J’ai besoin de ces deux opposés. L’un nourrit l’autre. Mes recherches personnelles sont plus expérimentales, elles me demandent beaucoup de temps pour aboutir. J’ai fait des choses très différentes. Par exemple, Une Utile Illusion, présentée en 2010 à la galerie Serge Le Borgne utilisait des didascalies tirées de pièces de Maurice Maeterlinck. Toutes ces formes questionnent les principes de composition, de spatialisation, de narration… Aujourd’hui je travaille beaucoup avec des filtres, des générateurs de son, mais c’est très long.”

Pasted-Graphic-3« Le soldat sans visage », video still, 2007 © Frédéric Sanchez

Lorsqu’on lui demande s’il se sent plus proche du milieu de la mode ou de celui de l’art, il répond, après une longue pause, que ce dont il a vraiment envie aujourd’hui, c’est d’écrire. Un désir pas si éloigné de sa pratique actuelle que l’on ne demande qu’à découvrir.

Frédéric Sanchez en 5 titres

Bill Nelson – The Shadow Garden


John Cale – Risé, Sam and Rimsky-Korsakov


Robert Ashley – The Park (Part 1)


The Stranglers – La Folie (Album Edit)


Max Richter – Iconography


Vogue Collections Automne Hiver 2015-2016


C’est l’un des hommes invisibles de la fashionweek – mais l’un des plus importants aussi.FREDERIC SANCHEZ signe depuis vingt ans les bandes-son des plus beaux défilés. Rencontre avec un story-teller musicalunique, dont le talent a séduit Miuccia Prada et Rei Kawakubo, Marc Jacobs …

C’est un grand studio tout blanc, quelque part du côté de la gare de l’Est. Dans la bibliothèque qui grimpe jusqu’au plafond, il y a des CD, bien sûr, des dizaines de vinyles – à moins que ce ne soit des centaines. Sur le bureau, on dénombre 23 disques durs externes – «mais il y en a beaucoup plus en bas», s’amuse Frédéric Sanchez. La quarantaine élégante, l’oeil pétillant, pantalon gris et pull sombre, l’ex-môme des années 80, arrivé à la mode par la musique, vient de terminer le marathon de la saison automne-hiver 2015/2016. À son actif, des big names ( Prada, Comme des Garçons, Marc Jacobs, CalvinKlein .. .) et des new-comers (Marie Katrantzou,Thomas Tait…), pour qui il travaille la matière la plus impalpable qui soit : le son. Egalement aux commandes d’installations sonores personnelles, commissaire d’exposition, du Louvre à la Cité de la Musique – on l’imagine «à la mode», exubérant. C’est un créateur discret qui vous propose un café, se réjouit de n’avoir, pour l’instant, aucun projet en cours, et n’hésite pas à confier son rapport complexe à la ville, de laquelle il s’échappe pour travailler dans son studio installé en Normandie.

Un défilé dure en moyenne dix minutes.
Comment raconte-t-on une histoire en un laps de temps si court?

Ça dépend des maisons. Pour chacune, j’ai une quarantaine d’heures de travail, et de deux à quatre rendez-vous. Au-delà du travail de studio, je parle beaucoup avec les créateurs.

Vous voyez les collections avant tout le monde?

Pas forcément. Parfois je ne les vois pas. Cette saison, j’ai travaillé avec Guillaume Henry: pour sa première collection chez Nina Ricci, il m’a surtout montré des photos, des objets … Mais chez Comme des Garçons, j’ai droit à un véritable défilé, pour lequel j’arrive avec une centaine de propositions différentes.

Pour l’automne-hiver, la tendance serait …

Une poésie chaotique. Pas mal d’entrechocs, sous tendus par une envie d’être créatif en allant jusqu’aubout. J’ai eu envie de recommencer à travailler avec des ruptures, des non-mixages, comme les collages chez Miu Miu, ou cet enchantement un peu acide du show Prada.

Ce goût du non-mixage, c’est l’inverse d’un travail de DJ?

Je ne suis ni DJ, ni disquaire, ni programmateur! Ce que je fais, c’est de la mode. De la mode sonore, mais de la mode avant tout. Il faut savoir être humble pour accompagner les collections. Après, je fais une différence entre mon travail de commande et mon travail personnel.

Quel a été votre projet le plus fou?

Une collaboration avec la fondation Prada, à Venise, pour l’exposition «Art or Sound». Miuccia Prada m’avait demandé d’orchestrer 250 oeuvres sonores – et elle ne voulait pas de casques. Il y avait tout un travail sur l’espace, la manière dont le son se diffuse, se répercute, se mélange – ou pas.

Quels sont les lieux que vous aimez?

Les endroits qui résonnent. Les endroits imparfaits, comme le Grand Palais, où j’ai travaillé à deux reprises. J’aime cette idée de réverbération, de délai, que le son prenne du temps pour se faufiler dans les imperfections de l’espace. Le son, c’est une histoire, un cheminement, c’est remonter le fil du souvenir.

Et les musiciens qui vous inspirent?

Ça a beaucoup à voir avec les années 70. John Cale m’a fait découvrir la musique minimaliste américaine, Brian Eno l’électro allemande ainsi que la nouvelle scène anglaise, Gavin Bryars, Cornelius Cardew. Et Robert Wyatt, pour la poésie sonore.

Un coup de coeur sonore – ou musical?

J’aime tout. Comme j’utilise pas mal la synthèse modulaire, je m’intéresse à des musiciens qui utilisent des systèmes appelés «West coast», les ancêtres du synthétiseur nés au début des années 60. Eliane Radigue, une artiste française, s’en servait: je l’ai insérée dans le défilé Nina Ricci… Et puis je me penche sur les nouvelles artistes femmes, comme Kaitlyn Aurelia Smith, qui a sorti récemment Euclid, un très beau disque.

Et le silence?

Le silence, c’est une illusion utile…

Comme des Garçons – Dazed – April 2015

Photo: Jeff Bark

Love, lust, life and death with Comme des Garçons

Taken from the Spring 2015 issue of Dazed:

In a season defined by an obsession with placid beauty, Rei Kawakubo – one of fashion’s most defiant and cryptic figures – hit us with a collection that raged violently against the surface level. Inside a derelict warehouse in Paris, she sent out an aggressive procession of explosive silhouettes rendered in an overwhelming, all-red colour palette. Red has always been a powerful signifier, but in the hands of the Comme des Garçons figurehead, its conflicting associations with rage, suffering, love, lust, life and death all came into emotional consciousness.

Kawakubo’s signature is to create clothes that demand an extreme reaction, but this season’s show felt powerfully unnerving, set to a jarring soundtrack curated by Frédéric Sanchez featuring drone metal bands such as Earth and Sunn O))). “With Comme des Garçons it’s different because Rei doesn’t tell you about a theme,” says Sanchez. “What was interesting – and something I hadn’t experienced in a long time – was that she really wanted me to look at the clothes very intensely beforehand. The moment I saw the collection, violent and emotional images came into my head. I thought of Derek Jarman movies, like The Last of England, and the Countess Elizabeth Báthory (the infamous female serial killer known for bathing in her victims’ blood). It was violent and passionate, but without the feeling of horror. The final idea was to do something subtle. Something that felt like no music, but which filled the space.”

Backstage, the notoriously elusive designer gave the words ‘roses’ and ‘blood’ as her explanation for the show. It was an interesting pairing: two disparate ideas that came together in this most conflicted of collections. “There was something almost operatic and theatrical because of the red,” says Sanchez. “It gave a feeling of unreality, while also expressing something about the violent world we live in at the moment. It’s not real, but it is – that’s what makes it so special.” For Kawakubo, clothes alone have never told the whole story. What she achieved this season was to trigger an emotional response that stayed with us, reverberating far beyond the catwalk. Fashion could do with more of that.

Frédéric Sanchez – – March 2015 Fall 2015 Interviewprada-f

Fashion Month Behind the Music: A Conversation with Frédéric Sanchez

“One of the most aurally stupendous soundtracks to ever bend these ears at a fashion thing,” is how our own Tim Blanks described Frédéric Sanchez’s score for the Thomas Tait Fall 2015 show. The mix included “Holy Land Explosion” by Francis Kuipers, “Le Saint Guidon” by Monolithe Noir, and “Red Sex” by Vessel—a strange combination of experimental rhythms, electronica, and grinding industrial beats if there ever was one.

The first thing to know about Sanchez is that he’s highly organized and dedicated, with his thousands of albums categorized to the nth detail, from engineer to art director to producer—something his 25 show clients this season, from Alexander Wang and Calvin Klein in New York to Comme des Garçons and Miu Miu in Paris, surely appreciate. But more than just a good set of ears and a hyper-organized discography, the thing that keeps brands like Prada interested in him is his undying sense of fantasy. “Sometimes I get ideas like I don’t know how,” he began over the phone. “It’s like a moment of life in a way, and it’s what I bring to the people I work for. When I arrive in front of the person I work with—and you really need to know the person really well—I bring all my thoughts and what I’ve dreamt about and my ideas from the last two months. For example, with the Prada soundtrack, I had listened to this artist called Alice Coltrane, and I was listening to that for two months and I brought that to Prada. I had the same process with Thomas Tait and with all my clients: I listened to his story and I mixed it with my own story and my own fantasy in a way.”

Among Sanchez’s Fall 2015 fantasies were several that were covered in our reviews. Velvet Underground’s “Venus in Furs” got first mention at Calvin Klein; the thumping sounds he crafted for Thomas Tait came up in London; and his Fantasia samples at Prada, “My Funny Valentine” covers at Jil Sander, use of Max Richter’s Blue Notebooks at Comme des Garçons, and quirky ad mash-ups at Miu Miu cemented him as the aural experimenter to watch—or listen to—this season. While such prowess might allude to a systematic approach to creating a soundtrack, Sanchez’s methods are much more surreal in their efforts, emphasizing a holistic method over a pragmatic one. “To be very precise, it takes me three or four appointments and maybe 40 hours [to create a soundtrack],” he explained of the process as a whole, adding, “But what takes longer is to get the idea of things.”

The few hard-set rules he sticks to are: Don’t use music that’s been in other shows and don’t overdo it. He explains his process of mixing music for a soundtrack as something akin to mixing perfumes, combining the strange with the familiar in unexpected ways. “It’s a little like when you smell perfume and you don’t know really what it is, but at the same time you can understand where some elements come from and have some mental images that it calls to mind. That’s always the way I’m working.”

There’s also a deep sense of the personal in his work. “I like the idea of [the soundtrack] being made-to-measure,” he explained. “I think that fashion is so, in a way, mainstream. Everybody is talking about fashion and all that, and maybe the show soundtrack is the thing that gets special-er and more exclusive,” he said with a laugh, in reference to the fact that many of his soundtracks are not heard outside of the show environments they accompany. “It makes it a little bit like what was haute couture in a certain time—it feeds the fantasy of the people who don’t have access to this.”

Thomas Tait – – February 2015

Thomas Tait Women Fall 2015 Style

February 23, 2015
The shoe in Thomas Tait’s show was a stiletto skewering a crystal ball. Was that a comment on the impossibility of prediction with this designer? After all, who can ever really tell what’s going to happen with—or to—Thomas Tait? That was a point he made very clear with his show today, the first since he scooped the first edition of the LVMH Prize: 300,000 euros and a year’s worth of mentoring. It’s already paid off. « The money helped me get out of trouble and catch up on production, and the mentoring found me three factories in Europe, » Tait bottom-lined.

But his show hardly felt like a celebration. It was more like a deadly serious statement of intent: I refuse to be a cliché. As the audience filed down stairs into the subterranean gloom of an abandoned car park off Marylebone Road, an absence was obvious. There was no baying pit of catwalk snappers. No photographers at all. (The house would supply images later.) But there was noise: a grinding industrial throb that acted as an overture to one of the most aurally stupendous soundtracks to ever bend these ears at a fashion thing. (For the record—because a record really must be kept—Frédéric Sanchez mixed « Holy Land Explosion » by Francis Kuipers, « Le Saint Guidon » by Monolithe Noir, and « Red Sex » by Vessel.) And then the models began to emerge, at first in total darkness, and then following bridges of light that lit up as they walked, kind of like the way Michael Jackson illuminated pavestones in the « Billie Jean » video. But he danced, while these women moved through the shadows at the glacial pace of some eldritch ritual. « I wanted to slow things down, » Tait explained afterward. « My shows were always so fast. » And that’s also why he’d shed all the other hurry-up of a conventional fashion show.

And so to the clothes. They loaned themselves to the darkness. Tait’s not so given to talking about influences, but he did mention the photographer Gregory Crewdson, « for the way he elevates a semi-colloquial feeling into eeriness. » A reference point that seemed even more fitting might have been Crewdson’s kick-starter, David Lynch. One of these looks—a mink coat over a cashmere sweater and satin wrap skirt—could have been plucked from the closet of Dorothy Vallens in Blue Velvet. And Tait’s appetite for exaggerating the average—a giant-collared taffeta blouse, a huge-cuffed poplin shirt, trousers that swept the floor, enormous coats that dwarfed the body, utility jackets writ über-large—felt Lynchian. So did the collection’s struggle between restraint and release. There were tight little Pleats Please moments: Micro-pleated satin printed with screen grabs from Dario Argento films contrasted with those profligate volumes. And then there was the straightforwardly fetishistic lure of fitted leather coatdresses, festooned with zippers attached to oversize ring pulls. Their underarms were lined with mink. Think that mink, pull that ring…and ponder that skewered crystal ball.

Thomas Tait AW15 – – February 2015

Thomas Tait AW15  Dazed

Dario Argento’s horror ‘Suspiria’ inspires an immersive experience staged in near total darkness – listen to Frédéric Sanchez’s atmospheric soundscape here

Initial reaction:

A welcome change of pace in a go-faster industry with increasingly less time to immerse yourself in anything. Thomas Tait sent his models out into Westminster University’s subterranean space in near total darkness, only lit up by snaking, glitchy rectangles of light that showed the way as they walked very slowly across the floor. It was frustratingly difficult to see the clothes at times, but it made you sit up and concentrate (hard) and really look at the garments. Like Giles Deacon’s return to a theatrical runway presentation yesterday, it brought a sense of emotion and drama to the catwalk after years of mechanical and detached conveyor belt shows.

What lies beneath:

Tait is one of fashion’s abstract thinkers and he doesn’t do pre-packaged theme collections. Backstage, he told us about how he’d been trying to explain the garments over the phone to people and it had somehow sounded a bit pedestrian. Of course, it was anything but. The languid, asymmetrical silks, innocent sailor collars and Tait’s kick-ass signature sculpted outerwear were accompanied by what he called “white trashy” elements and the “bionic and supernatural”. Sleeveless mink gilets played on the wrongness of 70s/80s furs with leather inserts and jackets had oversize metal hardware with big zipper rings – used slyly in places like the nipple region. It was normal made unnerving, like a piece by photographer Gregory Crewdson whose way of turning the everyday into something you can’t quite put your finger on had been on Tait’s mind. There was clearly darkness here in more ways than the set. The invitation’s still from Dario Argento’s 1977 horror masterpiece Suspiria was echoed on pleated dresses – a deliberately lo-fi foray into digital print for Tait, made from screen captures done on his laptop while watching films in bed. “They’re kind of really shitty and a lazy way of doing some kind of informal research. I thought it would be really interesting to make these highly intricate garments and undercut them with a crap image from the film I love.” Suspiria’s nearly all-female cast and explorations of the female psyche really ring true with Tait, who doesn’t bend to mainstream society’s obsession with the female body as a Photoshopped sex object. Case in point: a black leather and patent coat with a tuft of red mink showing like a defiant hairy armpit.

New territories:

Winning LVMH’s Young Fashion Designer prize last year has meant a huge difference to Tait, who like so many young designers struggles with keeping a business afloat – not for lack of ideas, but funds. “The money kept me from going out of business to be honest,” he said. The designer has always produced things to a very high standard, but this season he took it up a notch: LVMH have introduced him to three factories in Europe, who were all in attendance at the show to see the results of their work. “It’s really great because it’s like, this is what it’s meant to look like,” he said. For the soundtrack, Tait worked with Frédéric Sanchez for the first time. “It was amazing because I collected all the stuff I’d done in the past and sent him paragraphs of what I wanted to do for this show and he came back to me with huge zip files of different ideas and took all the old soundtracks and decomposed them and was like, ‘This is what you sound like’, but in little fragments. He totally got it,” Tait said of the dark and engulfing moodscape.

The show soundtracks you didn’t expect this season – Dazed – March 2015

The show soundtracks you did not expect this season - Dazed

Grimes gave a digi-pop edge to Louis Vuitton, Dev Hynes created a new soundscape for Eckhaus Latta, and Azealia Banks invaded Philipp PleinA killer soundtrack has the ability to transform something good into to something ground-breaking. Each season, runway soundtracks are meticulously selected to highlight the themes of a collection – or even to contradict them. They are essential to shaping the show itself. In the aftermath of AW15 womenswear (, weʼve sifted through every runway soundtrack to bring you the season’s finest. Headphones in, let’s go.

Miu Miu – Dazed – March 2015

Miu Miu AW15- Dazed

Miuccia Prada creates an 80s inspired collection of slick snakeskin and buckled pilgrim shoes – but is there more than meets the eye?

Initial reaction:

“Something fun, something light,” were the sparing few words Miuccia Prada (/tag/miuccia-prada) offered up after the show, with a cheeky grin that told us that maybe there was something more to say. Or maybe not? We constantly mine Miuccia’s output at both Prada (/tag/prada) and Miu Miu (/tag/miu-miu) for deeper meaning but perhaps this time, she was just doing fashion for fashion’s sake. And thereʼs nothing wrong with that when the fashion is so damn enticing. Is it therefore about consumerism and our feverish fashion desires? The proof is in the lusting for next season’s smorgasbord of cute coats, sparkly gems, slick skirts and must-have shoes.

Mixing the decades:

Touches of the 50s, the 60s, the 70s and the 90s could all be found in the pick ʻnʼ mix of a collection that instantly read as a Miu Miu aficionadoʼs wet dream, with its abundance of Miuccia-isms. But, it also definitely referenced the 80s with the presence of Lady Di high-necked ruffled blouses. New Wave appropriate leopard print and Memphis Design zany colour combos surged through. J.W. Anderson (/tag/jw-anderson) and Nicolas Ghesquière (/tag/nicolas-ghesquiere) have also both recalled the decade, inspired by its devil-may-care excess. Miuccia too was eager to emphasise that she wasnʼt trying to do something with intellectual depth – instead it was just about “fashion” and mining the 80s with its overt visual style statements, which seemed fitting for this admittedly shallow fashion-fest. Of course, what was merely “fashion” in her eyes was already leaps and bounds beyond the fashion norm – with her rich mix of crayon-hued mock-croc, nubbly tweeds, sparkly jewels and pilgrim buckled pointy shoes.

Remixing the sounds:

Sigue Sigue Sputnikʼs album “Flaunt It” served as the soundtrack – a mixture of the bandʼs songs and spoken word ads, which included one for L’Oréal. This was combined with Talking Headsʼ greatest hits for a combination of sounds that summed up the genre and style-mixing attitude of the collection. Trust Miuccia to have the last word on eclecticism, which has emerged as one of the strongest themes of the season.

Marni – – March 2015

Marni Women Fall 2015

Fall 2015 Ready-to-Wear

March 1, 2015

When Consuelo Castiglioni mentioned « twisted femininity » as a reference point for her new Marni collection, it didn’t really strike an oh-that-sounds-new chord. Marni has always walked the skewed side of the street. But what did look new the minute Sophia Ahrens hit the catwalk today was the fierceness: Amazonian tunic, major belt, python boots and matching cross-body bag strap, hair dragged up and off the face, brows knit. Woman going somewhere, and best get out of her way.

Backstage, there was talk about the cult movie Hanna, with Saoirse Ronan playing a girl who was raised as a vigilante/assassin. Castiglioni was in love with the notion of a purposeful woman on the move. Her collection was infused with a sense of rawness, urgency—propelled by the ominous, pounding slab of John Carpenter music that Frédéric Sanchez had chosen for the soundtrack. Seams were ragged, fabrics raw-cut. One of the most striking effects was a floral print transformed into a jacquard that was brushed till it was part bald, part thick-piled. There were dresses that looked like bolts of fabric had been draped around the body and belted into place, no time for a finishing touch. The use of fur had a similar rough-hewn, patched-up flavor.

But the sheer power of the look was much less Hanna warrior than vintage Hollywood. There was also talk backstage of Hitchcock heroines: not the Technicolor blonds, but the black-and-white stars—Ingrid Bergman in Notorious, say—except they tended to be victims. It was more an iconic ball-breaker like Joan Crawford who registered in Julia Nobis’ finale look: a high-necked silk blouse attached to fur sleeves paired with a flaring tweed skirt appliquéd with a black velvet floral pattern that could almost have been something tribal, like the stenciled patterns earlier in the show. You could picture Mildred Pierce on a 21st-century rampage.

The militant mood never let up. Those cross-body bag straps were Castiglioni’s Buster Brown belts. And the major silhouette—the lean, elongated top over flared pants slit open at the hem—also had something of Mao’s militarized women who would take Tiger Mountain by strategy. But it was an utterly convincing and forceful expression of Castiglioni’s evolving vision. How far she’s come.

Jil Sander – – February 2015

Jil Sander Women Fall 2015

February 28, 2015

Frédéric Sanchez’s soundtrack—a blurry, impressionistic, almost atonal mesh of Nico’s and Chet Baker’s versions of « My Funny Valentine » —suggested chaos. But the set was a precisely ordered group of colored pillars, like a geometric Stonehenge. Rodolfo Paglialunga imagined his new collection for Jil Sander forming somewhere between the chaos and the precision. The designer would pluck order from disorder.

It’s all any artist tries to do, but Paglialunga’s challenge was a little more pointy, given the patchiness of his efforts to date. Still, he made huge strides

with this collection. It won’t set Planet Fashion alight, but it registered as wearable, real-world, and properly proportioned. Credit the designer’s precision for that coup. Long coats and matching pants made a new kind of elegantly elongated suit. A bone-toned leather coat was a standout. The lines that traced a navy blue coat suggested something military, the most precise association of all. And even when Paglialunga started to mess with precision, he didn’t lose that line; it simply went diagonal. Shaved black mink was diagonally pieced for a coat. Dark green pony got the same treatment in a skirt.

Coatdresses were shadow-striped or crisscrossed with tape, always maximizing the line. You could follow the footwear for a subtext. One look featured correspondents paired with a pencil skirt and a full-sleeved knit top. Joan Crawford? That, at least, underscored Paglialunga’s disdain when he dismissed the ongoing debate about the dialogue between feminine and masculine in Jil Sander’s women’s collection as « banal. » If he could silence that debate, he’d definitely be able to put his own thumbprint on the label. So he showed a lovely, simple slipdress, and he closed the show with Hedvig Palm in a blush-toned coat that was forceful in line but indubitably womanly. Paglialunga is finding his feet.

Comme des Garçons – Dazed – March 2015

Comme Des Garcon Women Dazed

Initial reaction:

Think about everyone you’ve ever lost. And then think about how those emotions could be transferred into a raw expression where textiles and pattern making come together to emote, not necessarily to clothe. That’s what Rei Kawakubo achieved in her latest emotional opus. Afterwards, the show was simply described as the “ceremony of separation” – when you see someone off, you make them beautiful before they leave. And so it was that every aspect about losing someone to death was eked out, amplified and made undeniably beautiful. These figures of mourning were doused in the sheets of a deathbed, the satin puffiness of coffin interiors, the bows on funeral floral arrangements, and all the textiles associated with Victorian funereal attire (when Western society took mourning to extremes). Within this process of loss, we often struggle to see light at the end of a dark tunnel, and in one ensemble, a black circle with white lace peeking out from within it summed up this interplay between black and white – or being plunged into darkness when the light of life switches off. When Kawakubo enlarges and exaggerates forms on the body, it’s to mirror the largesse of emotion that Comme des Garçons shows instill within you. That’s why with only eighteen silhouettes, Kawakubo manages to say a lot. So much in fact that the audience were left tear-struck.

Songs of sorrow and longing looks:

Tracks from British composer Max Richter’s sophomore album The Blue Notebooks provided the main soundtrack. In particular “On the Nature of Daylight” built up to a crescendo to tug at heartstrings. As the music swelled, so did the each ensemble, exploding in volume with cage-like structures, lace and velvet covered bulges and a stream of white bows. It was as though the act of mourning was purposely besieging every model. These simultaneously serene and ghostly figures moved slowly down the runway, and as they passed each other, a tender look of longing was exchanged. In a nod to the way we lock ourselves away to deal with grief, every model had a hardened lace veil shrouding the faces or they were obscured by a sculptural cocoon by Julien d’ys. Unlike most Comme des Garçons shows where the soundtrack will suddenly cut off abruptly, Richter’s song carried on, and a light shone brightly at the set, willing for Kawakubo to emerge (of course she didn’t). The applause thundered and our hearts soared.

The aftermath:

Kawakubo’s last Comme des Garçons collection was about as intense as it could get. You emerged seeing red, impassioned and fuming because so few shows were able to elicit such emotion. That emotional journey continued here. Instead of anger though, we turned to sadness and the feeling that we need to put things into perspective so that we treasure what is dear to us. Eyes were moist. Real tears were shed. We momentarily suspended thoughts of how to sell it or shoot it. We were looking at a collection, not with our minds, but with our hearts. “Epic,” was the word repeatedly heard amongst after show chat. Outside as the sun was gorgeously setting over the Jardin des Plantes, people lingered on to take it all in. When a swell of emotion is that big, you just have to let it wash over you.

Comme des Garçons – – March 2015

Comme des Garcon Women Fall 2015

March 7, 2015

There is now a ritual for Rei Kawakubo’s Comme des Garçons shows. Word comes that the designer is really not sure, that this time it has taken so much out of her to produce the latest collection, there really might not be another one.

This is not some sort of false modesty or strange dance with members of the press. She is never blithely or blindly confident in what she is doing, this woman who has proved herself time and time again throughout her career. But this is also one of the reasons she is a great designer: She pushes herself beyond a comfort zone, struggles and never rests on her laurels, expects more from herself and in so doing, knows she is asking much from her audience.

What Kawakubo produced today could be seen as part of a quartet of shows that began with Spring 2014, when the designer knew she was stepping beyond bounds that had seemed set in fashion. This season felt like a culmination, linking many of her concerns through the past, present, and future of her collections. This was the real epic of the four—despite only being 18 looks long. Away from the bloody anger of last season, that revenge play of sorts, it turned into a kind of requiem today. There was a sense of sadness, grief, and finality in the collection—and the audience who were there at the staging of it really felt it. But this was not the finality of Rei Kawakubo’s last stand—you believe her compulsion to express and make something will continue to outweigh her self-doubts. This was the finality of death she was addressing in these clothes.

« The ceremony of separation » was how the designer defined what she did today. A strange, mournful pas de deux between the living and the dead—expressed in the steps as the models passed one another, turning and facing their counterparts in their massive silhouettes, moving to the side, and carrying on slowly and deliberately. It brought to mind a line from Charles Dickens’ Great Expectations: « Life is made of ever so many partings welded together. »
In this ceremony, most of Kawakubo’s key power colors were at play: white, black, and gold. The significance of this palette cannot be underestimated; these hues are the expression of meaning time and again for Kawakubo. Here they took on the ritualized connotations of grief: white as the Eastern expression of loss, black as the Western, and gold the most ornately ceremonial with its role in the burial rituals and death masks to be found in ancient tombs, particularly those of the Egyptian pharaohs. The living and the dead often faced each other in an opposition of color, the living in black, almost as if in Victorian mourning, with those that have gone in gold and white.

Lace was the material predominantly used for these silhouettes, ornately embellished or built with bows—another familiar Comme motif. These features gave the collection a ghostly delicacy and intricacy that cannot be seen so easily in photographs; neither can the overall complexity of these silhouettes be conveyed in a catwalk shot. It is a collection somewhat more refined than the other parts of the quartet. The color and decoration also brought to mind shows of Comme past—particularly « White Drama, » the Spring 2012 offering that conveyed the connotations of the marriage ceremony. Yet here was not the celebration of coming together: The bows were the ties that bind while pulling apart; the wedding dress became a death shroud.
Frédéric Sanchez’s choice of Max Richter’s music—remixed from the Blue Notebooks album—reinforced much. As did Julien d’Ys’ startling hair, which from a distance looked like a lace veil. It is not often that a fashion show becomes moving, with each part set in motion to convey real meaning. This was one of those times.

Fall 2015 Menswear
Comme des Garçons

January 23, 2015

A Comme des Garçons show can often seem like an arcane ritual, whose meaning is ever so slightly out of reach. For her menswear show today, Rei Kawakubo might have been deliberately courting the notion of secret ceremonies. The scene was set by Frederic Sanchez’s standout soundtrack, which mixed the eerie liturgical drone of Jocelyn Pook’s music for the masked ball sequence of Stanley Kubrick’s Eyes Wide Shut with the electronica of Italian musician Alessandro Cortini. The clothes were a similar blend of the disciplined and the unhinged, a florid second skin designed by tattoo artist Joseph Ari Aloi, aka JK5, underpinning conservative suitings that had been sliced and reconstituted on the diagonal to create the vertiginous sense of a world slipping sideways.

In a season where word play on clothing has become a major fashion subtext, JK5’s messages seemed particularly pointed, when they were decipherable. « Born to Die » was recurrent, so were statements about beauty, and the exhortation to « Fight Off Your Demons. » To this viewer at least, the ceremonial aspect felt like something to do with the passage of young men to war (an impression that was scarcely lessened by the helmetlike hats some of the models were wearing). The presentation journeyed from somber tailoring through the chaos of JK5’s imagery to a series of jackets articulated almost like armor to a closing passage of pure white pieces literally overlaid with animal print, and bearing on the back some of South African photographer Roger Ballen’s profoundly disturbing images (unfortunately unviewable in the 2-D world of catwalk record). A nod to the beast without? Or an angelic ascension? Layers of meaning are fundamental to ritual: what is seen, what is sought. Kawakubo is almost alone in her ability to apply such layers to fashion. – Prada – Janvier 2015

Prada Men Fall 2015

Miuccia Prada did something she’d never done before with her show tonight. On every seat there was a printed manifesto for the collection — or, rather, collections. (She was showing both Fall menswear and Pre-Fall womenswear.) « Gender is a context and context is often gendered, » read the notes. There could scarcely be a timelier idea to address, what with vigorous new debates about feminism, the heightened profile of LGBT activism, and the misogyny of religious fundamentalists around the world. And, in outlining her rationale for the show, it was clear that Mrs. P wasn’t prepared to leave it as open to freestyling interpretation as she has in the past.

And yet she couldn’t help but excite conjecture. The invitation — a rectangle of black nylon — was a reminder of Miuccia’s foundation in the family business, and she went back to the well with an opening passage of pieces cut from the material. She claimed that blending collections for men waiting to do for a while, because working on menswear always left her wondering how she could apply the same ideas to women. The shared aesthetic today was simple. « Uniform, severe, elegant: This is the fashion I like at this moment. »

It was industrial, too—not just that black nylon, but a stark, metal-floored, metal ceilingedset; Frédéric Sanchez’s soundtrack of Front 242; and the grim, urgent mien of the models. The boys might have been refugees from Madchester; the bouffanted, eyelinered girls could have been fleeing Le Lipstique, Baltimore’s finest beauty parlor. Either way, as a manifestation of Prada’s ongoing « analysis of the relationship between men and women » (thank you, manifesto), their presence together on the catwalk implied profound alienation, even with shared style tropes such as strictly belted waists and double-breasted closings. Gender as a context, indeed. Maybe it’s always been that way with Miuccia. She presents men as compromised boys, whereas women have been paraded as paragons of strength. Today, she whipped the epaulets off hermale models’ shoulders and repositioned them as decorative bows on the dresses of.

But even that flourish was deeply ironic. « Abow wraps a present, » Miuccia mused. »Am I presenting woman as object? » It is typical of Prada that, after taking in a collection that wasn’t as stellar as some in the label’s longtime roster of winners, you still walked away with such a thought provoking, destabilizing notion lodged firmly in your mind. – Janvier 2015 – Comme des Garçons

Comme des Garcons Fall 2015 Menswear

A Comme des Garçons show can often seem like an arcane ritual, whose meaning is ever so slightly out of reach. For her menswear show today, Rei Kawakubo might have been deliberately courting the notion of secret ceremonies. The scene was set by Frederic Sanchez’s standout soundtrack, which mixed the eerie liturgical drone of Jocelyn Pook’s music for the masked ball sequence of Stanley Kubrick’s Eyes Wide Shut with the electronica of Italian musician Alessandro Cortini. The clothes were a similar blend of the disciplined and the unhinged, a florid second skin designed by tattoo artist Joseph Ari Aloi, aka JK5, underpinning conservative suitings that had been sliced and reconstituted on the diagonal to create the vertiginous sense of a world slipping sideways.

In a season where word play on clothing has become a major fashion subtext, JK5’s messages seemed particularly pointed, when they were decipherable. « Born to Die » was recurrent, so were statements about beauty, and the exhortation to « Fight Off Your Demons. » To this viewer at least, the ceremonial aspect felt like something to do with the passage of young men to war (an impression that was scarcely lessened by the helmet like hats some of the models were wearing). The presentation journeyed from somber tailoring through the chaos of JK5’s imagery to a series of jackets articulated almost like armor to a closing passage of pure white pieces literally overlaid with animal print, and bearing on the back some of South African photographer Roger Ballen’s profoundly disturbing images (unfortunately unviewable in the 2-D world of catwalk record). A nod to the beast without? Or an angelic ascension? Layers of meaning are fundamental to ritual: what is seen, what is sought. Kawakubo is almost alone in her ability to apply such layers to fashion.

Damir Doma – Composition originale pour la présentation de la collection Printemps Eté 2015

Interview Allemand Décembre 2014


Er ist seit 20 Jahren der Mann hinter den Soundtracks aller Prada-Schauen, beglückwünschte schon Calvin KLEIN und Helmut LANG nach ihren Shows mit Küsschen, dieses Jahr hat ihn dann auch noch die sagenumwobene Comme des Garçon-Chefin Rei KAWAKUBO ins Boot geholt. Will sagen: Der französische Produzent FREDERIC SANCHEZ wird immer dann von Designern gerufen, wenn die Musik bei Modenschauen auf gar keinen Fall Mainstream sein soll. Ein Besuch in seinemPariser Studio.

INTERVIEW: Herr Sanchez, wie viele bpm braucht man für einen sexy Walk auf dem Runway?

FREDERIC SANCHEZ: Keinen einzigen Beat. Eine Show kann auch ganz ohne Musik sexy sein. Stellen Sie sich vor: absolute Stilleund dann plötzlich das Klackern von HighHeels. Sinnlich, oder? Nur weil die Musik sexy ist, muss die Show ja nicht automatisch sexy sein. So etwas ist mir zu offensichtlich.

INTERVIEW: Sie sprechen aus Erfahrung?

SANCHEZ: Ja. Bei einer meiner ersten Schauen für Margiela – Martin war noch selbst Herr in seiner eigenen Maison- habeich komplett auf Musik verzichtet. Die Leute sprechen mich heute noch darauf an underzählen, wie bewegend sie es fanden. Man konnte sich ganz auf die Mode konzentrieren. Oder auch bei einer Miu-Miu-Show vorein paar Jahren. Da habe ich einfach Dialoge aus alten Filmen zusarnmenmontiert. Deutsche,französische, italienische. Ganz ohne Rhythmus, ohne Beat. Das war sehr erotisch.

INTERVIEW: Für Marc Jacobs haben Sie mal mehrere Versionen von Somewhere Over the Rainbow in Endlosschleife gemischt, für Helmut Lang einen Song aus original Louise-Bourgeois-Zitaten produziert. Wiekommen Sie auf solche Ideen?

SANCHEZ: Es ist bizarr. Ich schaue eigentlichnicht auf die Mode, sondern immer auf die Moodboards der Designer, ihre Ideen sammlung für eine Kollektion. Ich versuche, eine bestimmte Stimmung in einen Sound zu übersetzen, ein Bild zu kreieren. Häufig lasse ich mich von der Stimmung eines Films inspirieren. Da hat man sofort ein konkretes Bild im Kopf. Von der Temperatur ausgehend wähle ich dann die Musik aus.

INTERVIEW: In welchem Film spielt der kommende Prada-Sommer die Hauptrolle?

SANCHEZ: In einem psychedelischen Sixties-Streifen. Etwa im Stil von Joseph Loseys Boom mit Elizabeth Taylor und Richard Burton oder auch Michelangelo Antonionis Zabriskie Point. Die Stimmung sollteschräg, surreal und düster sein. Miuccia und mir ist gerade sehr nach schwarzer Magie. Als wir im Frühjahr zusammensaßen, um die Musik für ihre Männerschau zu besprechen, kramte ich ein Stück von Funkadelic hervor, Maggot Brain. Aber die Coverversion der britisch-amerikanischen Rockband PsychicTV: Es war genau die richtige Atmosphäre: psychedelischer Rock. Miuccia sprang auch sofort darauf an und sagte, das Stück solleich auf jeden Fall im Hinterkopf behaltenfür die Frauenschau. Sie wollte mit dem Sound ihre Womenswear-Kollektion entwickeln. Ich habe dann nur 20 Sekunden daraus genommen – als Teaser am Ende der Männershow.

INTERVIEW: Und dann hat Frau Prada alles umgeworfen?

SANCHEZ: Das passiert manchmal durchaus. Aber nein, hier war es nicht so. ImSpätsommer haben wir uns in ihrem Büro wieder getroffen, um die Frauenschau zu besprechen. Ich hatte den Song längst vergessen. Wir diskutierten eine Weile über meine Vorschläge, dass es punkiger sein sollte, ein bisschen mehr Metal. Aus dem Nichts fragte sie: « Was ist eigentlich mit Maggot Brainpassiert? Lassen Sie uns den Song noch malhören. » Und da war plötzlich wieder klar, dass die Musik alles hatte, wonach wir suchten. Punk, Metal, Rock. Dieses Psychedelische. Ich glaube, so schnell war ich noch nie zuvor aus ihrem Büro raus.

INTERVIEW: Als Sie ihr letzten Sommer Britney Spears vorschlugen, war es eine längere Sitzung?

SANCHEZ: Nein, nein, überhaupt nicht. Britneys Work B**ch! wurde gerade veröffentlicht, als wir an dem Soundtrack für die Sommerkollektion 2014 arbeiteten. Ich hatte die Idee, den Track mit indianischen Sounds zu mischen. Das hat ihr sehr gut gefallen. Sie hat keine Berührungsängstemit Pop-Phänomenen. Sie hat aber auch keine Angst vor Schubert oder Wagner. Privat hört sie lieber klassische Musik. Siegeht häufig in die Oper oder ins Ballett. Die Tänzerin Pina Bausch war immer eine große Inspiration für sie.

INTERVIEW: Blutrote Lack-Capes mit gequilteten Oversize-Kapuzen von Comme des Garçons oder schokobraune Seventies Ledermäntel mit Gänseblümchen bemalt von Martin Margiela im Sommer 2015: Gefallt Ihnen eigentlich die Mode Ihrer Auftraggeber?

SANCHEZ: Nun ja, Prada oder Margielaent sprechen eher meinem persönlichen Geschmack als Comme des Garçons. Dafür muss man jünger sein. Ich mag es eher konservativ. Aber zu den Kollektionen habe ich ehrlich gesagt keine Meinung. Ich habe mich nie groß für Mode interessiert. Als ich 15, 16 war, drehte sich bei mir alles um Musikund zeitgenössischen Tanz. Aber Mode? Damit bin ich das erste Mal ernsthaft in Kontakt gekommen, als ich ein Look-Book von Yohji Yamamoto in den Händen hielt. Es war von dem britischen Grafikdesigner Peter Saville gestaltet, der damals die LP-Cover von den angesagtesten Bandsentworfen hatte: OMD, Joy Division oder New Order. Mein Interesse für Mode kam also von der Musik. Aber erst als ich Martin Margiela begegnete, lernte ich das Modebusiness richtig kennen.

INTERVIEW: Erzählen Sie.

SANCHEZ: Eine gemeinsame Freundin stellte uns einander vor. Das war Ende der 80er-Jahre. Ich hatte damals keinen Plan, was ich machen sollte. Ich arbeitete kurz am Theater, dann in einem Pressebüro, später hatte ich einen eigenen Plattenladen. In Clubs aufgelegt habe ich nie. Martin hatte gerade bei Gaultier aufgehört und sein eigenes Label gegründet. Die Antwerp Six und Japaner wie Yohji und Rei Kawakuba waren gerade dabei, die Modewelt zu verändern. Bisher hatten Designer wie Claude Montana, Thierry Mugler oder Christian Lacroix ihre Kollektionen als konventionelle Modenschauen präsentiert. Die junge Generation grenzte sich klar davon ab. Martin war besonders radikal. Wir trafen uns das erste Mal bei einem Abendessen, und er erzählte mir, wie er seine erste Show aufziehen wollte,und fragte mich, ob ich die Musik dazumachen wolle. Ich sagte zu.

INTERVIEW: Wie ging es dann weiter?

SANCHEZ: Die Show fand wenig späterin einem kleinen Theater statt, Cafe de la Gare. Es gab keinen Runway im klassischen Sinne. Auf dem Boden waren Bahnen ausweißem Teppich ausgelegt. Wir installierten im Backstagebereich überall Mikrofone unds pielten die Geräusche in den Theatersaal ein, während die Gäste dort eintrafen. Es warmehr ein Happening als eine Modenschau. Die Inspiration für den Soundtrack waren Warhol-Filme und die Werke des deutschen Regisseurs Werner Schroeter. Eine 20-Minuten-Collage, bei der man hört, wie die Nadel auf den Platten abgesetzt und angehoben wird. Martin zeigte diese merkwürdigen Zehenschuhe, die aussehen, als stammten sie von einem Paarhufer.

INTERVIEW: Seine Tabi Shoes.

SANCHEZ: Ja, genau. Jedenfalls hat er sie in rote Farbe getaucht, und dann waren überall diese Abdrücke auf dem weißen Teppich- wie ein Leopardenmuster. Das warvollkommen neu. Mir war klar: Das will ich ab sofort hauptberuflich machen.

INTERVIEW: 2009 verließ MargielaMargiela. Was war Ihre traurigste ModeTrennung?

SANCHEZ: Immer wenn ein Designer seine Karriere beendet hat, egal ob eben Martin Margiela, Jil Sander oder Helmut Lang. SeinA bgang hat mich übrigens besonders betroffen gemacht. Er war ein genialer Designer und sehr offen für abseitige Ideen. Wir haben viele tolle Shows gemeinsam produziert. Einmal haben wir Telefonmitschnitte von Konversationen auf Sex-Hotlines gesampelt, wie sich die Leute dort einander vorstellen. « Hallo, mein Name ist Hamish. Ich suchenach großen, gut gebauten Typen. » Wir habenalle möglichen Namen von den Gästenaus der Front-Row gewählt und dann bei derShow immer mal wieder eingespielt. Das warirre lustig.

INTERVIEW: Sind die Runways 2014 nochi immer so experimentierfreudig?

SANCHEZ: Bedauerlicherweise nein. Ichglaube, irgendwann Mitte der 90er-Jahrefingen Designerlabels plötzlich an, Modemarketing zu betreiben. Nach den Antwerp Six und der Idee der Dekonstruktion wurde die Mode minimal. Jil Sander hat diesen Stil wie keine andere geprägt. Oder auch so jemand wie Calvin Klein. Mode war auf einmal kommerziell, eine Massenware wie jede andere. In gewisser Weise sehr kalt unddistanziert. Ich mochte diese Kälte. Ich habedas damals mit dem minimalen ElektroSoundvon Kraftwerk betont. Ich fand diese Entwicklung sehr interessant. Nur wurde Marketing dann irgendwann zu sehr zur Realität. Aber das ist ja nicht nur in der Mode so. Auch in der Kunst. Unsere Städte haben sich zu riesigen Shopping-Malls entwickelt. Überall sieht es gleich aus. Egal, ob London, Paris oder Berlin. Ich wohne in zwischen zwei Stunden von Paris entfernt, in einem kleinen Ort in der Normandie. Da ist es authentischer.

INTERVIEW: Ihre Kollegen nennen sich heute nicht mehr DJs, sondern Soundstilisten. Einverstanden?

SANCHEZ: Furchtbar. Ich sage jedenfalls immer, dass ich Musiker bin. Als ich in den 80er-Jahren damit anfing, Musik für Modenschauen zu entwerfen, gab es noch keine Bezeichnung dafür. Die Leute fragten mich: « Wie sollen wir dich nennen? DJ? Musiker? » Ich antwortete: « Soundillustrator. » So nanntensich damals Künstler, die fürs Radio Musikfeatures produzierten. Kein anderer außer mir nannte sich so. Das gefiel mir. Heute produziere ich neben den Shows auch Musik für Galerien und Installationen. Ganz eigene Stücke. Ich finde, da passt Musiker besser.

INTERVIEW: Wie groß ist Ihre Musiksammlung?

SANCHEZ: Ich habe rund 50000 Schallplatten. Aber heute nutze ich fast nur noch Festplatten. Keine Ahnung, wie viele es sind. Ich habe aufgehört zu zählen. Es werdenstündlich mehr. Ich habe noch nie etwas gelöscht.

INTERVIEW: Ihr persönlicher Rekord an zusammengemixten Musiktiteln bei einem Soundtrack?

SANCHEZ: 20 Minuten, 100 verschiedene Samples, Margiela 1993. Ich habe den Applaus von allen möglichen Konzerten zusammengeschnitten-von Elektro bis Klassik. Diese Samples habe ich dann wie ein crescendo arrangiert. Es war sehr experimentell. Irgendwann wusste man nicht mehr, istdas jetzt Klatschen oder Regen?

INTERVIEW: Wo finden Sie neue Musik?

SANCHEZ: Ich recherchiere viel in Büchern über Musik oder lasse mich von Filmen inspirieren. Blogs interessieren mich nicht.

INTERVIEW: Welchen Bandnamen müssen wir uns 2014 unbedingt merken?

SANCHEZ: Ich bin superbegeistert von derSunn-0)))-Kollaboration mit Scott Walker. Ihr Album Soused hat mich wirklich ergriffen. Klingt nach: Heavy Meta! trifft Oper. Man hört 50 Minuten lang einen trommelnden, beinahe monotonen Gitarren-Sound und einen opernhaften Gesang. Sehr mönchisch. Einen Auszug davon habe ich für die vergangene Comme-des-Garçons-Show benutzt. Ich höre so etwas aber auch privat.

INTERVIEW: Zu welchen Gelegenheiten hören Sie Musik?

SANCHEZ: Niemals als Hintergrundgeräusch. Das kann ich nicht leiden. Ich höre sehr bewusst. Wenn ich Gäste für ein Dinner habe, genieße ich den Sound, den sie produzieren.

INTERVIEW: Wo ist Musik unpassend?

SANCHEZ: In Schwimmbädern.

INTERVIEW: Das kam aber schnell.

SANCHEZ: Weil ich es gerade erst erlebt habe. Es war schrecklich. Während ich meine Bahnen zog, dröhnte aus den Lautsprecherndie ganze Zeit Daft Punk.

INTERVIEW: Etwa One More Time, zum Anfeuern?

SANCHEZ: Nein, nein. Viel schlimmer.Get Lucky mit Pharrell Williams. Die Musik macht dort überhaupt keinen Sinn – es istein wunderschönes Schwimmbad aus den 3Oer-Jahren. Sie spielen dieses Lied dort, seit es veröffentlicht wurde. Ich glaube, ich sollte damit bald mal was machen.

AnOther Mag Décembre 2014


oct. 292014

Acne – Composition originale pour la présentation sur le site Internet du déflié Femmes
Printemps Eté 2015

oct. 292014

Balmain – Composition originale pour la présentation sur le site Internet du déflié Femmes
Printemps Eté 2015

Les siestes électroniques Juillet 2014


Les Inrocks


VOGUE.FR 18 juillet 2014


ANOTHERMAG 8 Juillet 2014


Frederic Sanchez, Show Music Maestro

The Insiders is a column written by Kin Woo, presenting integral, but often hidden figures within the fashion industry
— July 8, 2014 —

Columns on fashion, culture and ideas

Frederic Sanchez, Show Music Maestro – Insiders | AnOther

Frederic Sanchez Photography by François Coquerel

Insiders talks to the man behind the fashion week soundtrack, producer Frederic Sanchez.

In the two decades plus he’s spent as oneof the most respected illustrateur sonoreworking today, Frédéric Sanchez has doneeverything from staging a Margiela show intotal silence, remixing a Louise Bourgeoissong for Helmut Lang to providing anunbearably poignant version of SomewhereOver The Rainbow for Marc Jacobs’A/W10 show. But his long termcollaborator Miuccia Prada threw him acurveball for her A/W14 shows –challenging him to work with livemusicians. Says Sanchez, “Our firstconversation was about the idea ofperformance and Pina Bausch has alwaysbeen a very strong inspiration for her. Thenwe talked about the 1970s being a momentwhen avant-garde was strong probablybecause the young generation of that erawas in reaction with what happened duringthe second world war. But all this was justthoughts, conversations, work in progress –because at the end, what you could reallyfeel was a take on women very close to theheroines of Rainer Werner Fassbinder.” Sowhile the woodwind concert groupL’Usignolo performed live renditions ofKurt Weill’s music, contrasted with thepounding metal of Rammstein for the men’sshow; at the women’s show (aptly titled‘Act II’), German actress (fromFassbinder’s ‘Lola) Barbara Sukowa sang amedley of Weill songs over a string quartet.It was a suitably cinematic flourish for adesigner who’s never shied away from herfilmic influences: the women stalking therunway becoming noirish and mysteriousfemme fatales straight out of a Fassbinderfilm.

« When you work in fashionyou have to be very openminded and you need to lookat everything. It has nofrontier » — Frédéric SanchezFor Sanchez, it exemplified everything heloves best about his job: “telling storieswith sound and music, taking an audienceon a sonic journey.” From a childhoodobsessed with the high concept prog rock ofKing Crimson and David Bowie, the late80s when he started working was anespecially fertile time for cross-pollination –Michael Clark would commission Bodymapto design costumes for a dance recital andPeter Saville would team up with YohjiYamamoto in between designing for FactoryRecords. “My interest in fashion appearedthrough music, » he explains. « For me whenyou work in fashion you have to be veryopen minded and you need to look ateverything. It has no frontier.” His firstforay in the field was when a chancemeeting with Martin Margiela led toscoring his very first show in 1988. “Wejust hit it off,” he recalls. “At that time wewere both very influenced by experimentalcinema, noisy pop and the Arte Poveramovement. So for this first show I decidedto tell a very sharp and precise story.”Complimenting Margiela’s offbeat approachto making clothes, Sanchez would makesound collages using reel to reel tape, “Forme it was an anti-DJ way of making asoundtrack and this became my owntrademark.

”Since then, he’s cultivated long-runningcollaborations with fashion’s biggest hittersfrom Marc Jacobs, Jil Sander, Givenchy,Helmut Lang and Prada and even extendedhis repertoire outside the realm of fashion –to exhibiting in galleries and devisinginstallations for the likes of the GrandPalais, Musée du Louvre and Herzog & DeMeuron’s Prada store in Aoyama, Tokyo.As different as each designer’s aestheticmight seem, each season always starts witha conversation: “My starting point is alwaysthe story that the designer tells me. I like tobe at the heart of the creation. I like themto tell me their stories and inspirations,” hesays. “I look at the mood boards rather thanthe clothes.” While Sanchez is the masterof a minimal, poetic soundtrack – “almostlike a perfume, something so subliminalthat the audience might not have noticedbut they would remember the next day ornext month” – he’s not averse to, saypremiering Britney Spears’ ‘Work Bitch’ atPrada’s S/S14 show, synching with Prada’stheme of female empowerment. “I find mywork most interesting when a designer letsme enter in his own world. It is never easyfor a creative person to let his ownemotions being translated by someone else.Trust and respect only happen through thetime. What I like about music is that it is away to communicate. It has somethingabstract that everyone can understand.People can then create their own images.”

Text by Kin Woo

Kin Woo writes for Dazed & Confused,
AnOther, and is a
contributing editor for Dazed Digital. He
has produced films for international artists
Phoenix, Patrick Wolf and Lissie Trullie.

juin 242014

24/06/2014 FILM-SONORE-15

FILM SONORE 15 13.39



juin 032014

Composition originale pour la vidéo « PRADASPHERE » a natural history of Prada
Mai 2014

VOGUE.FR 30 Mai 2014





Words by Phaedrus Lam
Photography by Karl Hab
Translation by Edwin Lo



Sound, when compared with vision, is inherently abstract and open to interpretation. On a fashion catwalk, sound works like the leaves of a flower – an embellishment to the visual beauty of what we see on the runway. This is an analogy for the work of our interviewee, the French sound designer, Frederic Sanchez. Having worked with various fashion brands and designers over the years, Sanchez has found a way to weave the visual tapestry of fashion with the beats and bleeps of minimal music, and graced countless runways with his signature notes. In this issue, we spoke with the master of sound about the medium’s endless possibilities on the fashion runway and together, we unravelled just a few of his simple, yet enlightening secrets.

Born in 1966, Frederic Sanchez made his foray into both sound design and the fashion world in the late ’80s. It was during this period that he worked with a young designer by the name of Martin Margiela and would later go on to design soundtracks for Prada, Marc Jacobs, Bouchra Jarrar, Jil Sander and Alexander Wang, among other international names. According to Sanchez, the role of a sound designer had not yet been defined when he first broke onto the scene, and when I ask him if he considers himself a musician or DJ, he avoids both terms and instead refers to himself as a « sound illustrator. » The term « sound illustrator, » I learned later, first came to use in the radio broadcasting industry and refers to the job of providing background sound for programs – a task which, at the time, paralleled the work Sanchez was doing in the fashion industry. His relationship with the radio, however, began much earlier.

« Unconsciously, watching my grandfather listening to Spanish radio stations when I was a kid had a huge influence on me, » he says. « My grandfather couldn’t go back to Spain until the death of Franco and these radio stations allowed him to dream about his home country. »

With a strong belief that aesthetic sounds can both recall memories and expand one’s imagination, Sanchez is greatly influenced by experimental composers such as John Cageand Morton Feldman, both of whom champion minimalistic and sparse compositions. « I always find natural sounds, likethe sound of the wind or the sea, very poetic. I also love thefootstep sounds that I often use in my work. You can actually create a film with these minimal, natural sounds, » he says. Just recently, the sound illustrator made this sonic minimalism a reality with his first film, Le Soldat Sans Visage. Sparse, yet beautiful, the two-minute film’s soundtrack is mostly made up of piano notes and ambient sounds.

On the runway, however, every note must be designed with the fashion show in mind. The creative process begins with an initial meeting with the designer, during which they choose the most suitable sounds to use, as well as the show’s atmosphere. « I always need the designer to describe his/her inspirations with words, then the music will appear, » Sanchez explains. The secret to creating a successful, original soundtrack for others, Sanchez reveals, is to find a middle ground between his own preferences and his client’s goals. « It is more important for me to respect the person who is in front of me, than to staying trueto my sound. The work I do for fashion is about collaboration, » he says.

Surprisingly – even with over twenty years in the fashion industry – Sanchez has never run out of inspiration. « It always comes from somewhere. The catalyst often comes from the past, so that what you’re trying to do is always connected to history, » he says.

For our Obscura website, we are proud to present an exclusive, custom Sanchez soundtrack inspired by his thoughts on people and elements from his past. He doesn’t say much more, however, and-like his musical style – leaves us instead withthe joy of discovery and interpretation.



Anatomy of a Fashion Show

Anatomy of a Fashion Show Soundtrack – BoF – The Business of Fashion 14/10/13
Anatomy of a Fashion Show
NEW YORK, United States — Prada and Britney Spears. Versace and Nine Inch Nails. Chanel and Jay-Z. All unexpected pairs, perhaps. But each coupling — of fashion and sound — appeared on the runways ofthe ready-to-wear shows which wound down two weeks ago.

Fashion and music have long enjoyed a special relationship — just try and imagine a fashion show withoutsound. And in the approximately 12 short minutes that most designers have to tell their seasonal story, it’ssound designers like Frédéric Sanchez (who paired Prada with Britney’s “Work Bitch”) and Michel Gaubert(who tapped Jay-Z’s “Picasso Baby” for Chanel) who are charged with “synthesizing [a fashion designer’s]ideas into sound,” as Sanchez puts it.

“In a movie, you have someone who can push the plot along verbally. But [with fashion], music andclothes are your whole plot,” says Rene Arsenault, who has worked on soundtracks for Tom Ford since histime at Gucci, on the importance of music to seasonal runway shows.

At Comme des Garçons’ most recent show, every look marched to its own signature tune — whether asnippet from a Fred Astaire movie, or the sound of crackling wood fire — to communicate that each stoodon its own. During the Versace finale, models paraded to Drake rapping the house’s name in tightsuccession. At Chanel, “we used ‘Picasso Baby,’ all mixed with avant-garde music from the 1970s, becausethe show was staged in an art gallery,” Gaubert explains. And at Céline, he continues, “we only used onesong” — Soul II Soul’s “Back to Life” — “and we just remixed it to death because it’s a three and a halfminutesong and [we needed it] to last longer without getting boring.”

The journey to fashion soundtracks like these begins anywhere from two months to a few days before theshow, Gaubert says, depending on the designer. The initial inspiration can range from mood boards toclothing samples. “Sometimes it’ll be a musical reference, sometimes it’ll be a film reference, or I’ve beenshown [something] more abstract, like art or sculpture,” adds Arsenault.

“First, I meet with the designers to exchange ideas and decide where we want to go,” Gaubert says.“Sometimes, they’ll bring music I should listen to. And then I see what works. Sometimes, within one[meeting] we’ll find all the music we like; sometimes it takes two times, three times. And then we startmixing it.” The whole process — which often ends hours, if not minutes, before the show — takes about 40hours in total, Sanchez estimates.

“The key element is to get the musical cornerstone of the collection — that one piece that reallyexemplifies and speaks for the designer,” Arsenault says. “That’s the piece that either opens the show,closes the show, or is the main theme of the show. Once we have that, then it’s about approaching it like asoundtrack and varying the theme a little bit. Not introducing anything that’s so drastically different fromwhat we already agreed upon, but maybe something that takes it down, takes it a little bit to the left, alittle bit to the right. You want to start with a statement that typifies what the designer is trying to say.When the first girl walks out, it’s got to be pretty obvious. Then my job is to make that all flow togetherand sound like a styled soundtrack.”

Many of fashion’s top sound designers have longstanding relationships with the designers with whom theycollaborate. Gaubert, for instance, first began working with Karl Lagerfeld in the early 1990s. “Therelationship with a designer has to be personal to understand clearly the world in their head, everythingthat influences the collection,” says Javier Peral, who creates soundtracks for Jason Wu and CarolinaHerrera.

“Once you work with someone over a period of time, you know their aesthetic already, and their taste,”adds Arsenault. “So whenever you hear a song [that might work well for them], you tuck it away into aplaylist.”

Indeed, the search for the right songs is a never-ending process. “I discover songs and do research on theInternet, I go to record stores, live concerts, read music magazines, watch movies,” says Mimi Xu, whoworks with brands like Topshop and Ostwald Helgason. “Music is literally everywhere in my life.”

“It’s keeping your ears open all the time,” says Arsenault. “Now, anyone with an Internet connection and asense of discovery is going to be able to find music. It’s just what you filter out and what you keep and putinto a playlist that is the difference between people that are successful doing this and people that aren’tsuccessful doing this. It all comes down to taste.”

But in the search for what’s right, personal taste must be sometimes cast aside, Gaubert notes. “I listen toa lot of things, new or old, and I even listen to things I don’t really like, because it’s important to knowwhat’s around. With [fashion] designers, they sometimes don’t like certain fabrics or colours, but theyknow if they do it at the right time, it’ll be nice.”

The search must also go much deeper and wider than the Top 40. “The point of a fashion show is notplaying the greatest hits,” Gaubert says. “Or something that’s trendy because it’s trendy. It has to fit.Anyone can play the newest sound in a show.” Arsenault agrees: “You don’t want to walk into a show andhear the same thing you just heard on the radio.” In fact, a good fashion soundtrack must feel unique.

“When you leave the show, [you want to] feel that the music was custom-made for the show,” Gaubert adds.

Part of creating a differentiated soundtrack lies in mixing. And part lies in paying attention to what songsothers have used. “It’s very important for me to look at what other people do,” Sanchez says, “because it’svery important for me not to do things that have already been done. If I know somebody has used [asong], I’m not going to propose the same thing.”

Though, typically, fashion show music has a strong beat to it, that “doesn’t work all the time,” Xu says.“You always hear people think [a song] is going to be good [for the runway] because models can walk toit,” Gaubert adds. “But when anyone walks… when I walk on the street, I don’t need a sounding beat, youknow? What the audience gets from the music — that’s more important than the bass of the music and thebeats.”

Arsenault agrees. “It doesn’t have to be boom boom boom all the time. A lot of the shows I’m doing noware much more fluid, more about the overall sonic soundscape that you’re laying out, be it two songs, threesongs, four songs, and how those songs are interwoven.”

So how does a sound designer know his or her soundtrack is working?

“When you play something for a designer and you see their eyes light up,” Arsenault says. “That’s when you know it’s going to work.”

“I mean, this isn’t failproof,” Gaubert says. “Like any creation, it’s taking chances. How does a designerknow their collection is going to be perfect on the runway? But on a technical level, we do test the soundin the location.”

“What I like is at the end of the show, they say the show is great,” Sanchez says. “I don’t like when they saythat the music was great. I consider that [to mean] I didn’t really do my job. It’s very important when thewhole thing comes together. If the music has been too important to the show, it’s not good.”

Gaubert agrees. “When a show is good, it means everything was good. The production was good, the location was good, the music was good. It all made one, and that’s the way it works the best.”

MADAME FIGARO Janvier 2014


Le son de la mode
par Gabrielle De Montmorin

Pas de SHOW sans eux. La mission de ces stars de l’ombre? Créer les bandes-son des plus grands défilés. Mettre en résonance MUSIQUE et style, souligner l’esprit d’un couturier, d’une collection et … donner le tempo du rêve.

Ils s’appellent Sound Designer (illustrateurs sonorse) mais surtout pas DJ. Ils sont une poignée à oeuvrer entre Paris, New York et Milan, ambassadeurs d’un métier à part, qui n’existait pas il y a trente ans.
Même si leur parcours diffère, ils ont ce don d’entrer dans l’univers des créateurs de mode. A chaque saison, il leur faut en effet comprendre la collection pour l’habiller en musique.

« Un défilé dure une dizaine de minutes en moyenne et s’apparente au spectacle vivant, où il importe d’être concis et direct. Mon travail est donc d’emmener pour un temps très court les spectateurs dans une histoire et un univers», explique Frédéric Sanchez , l’inventeur du terme «illustrateur sonore».
Sélection, montage en studio, réglage sur le lieu pour égaliser chaque fréquence et caler chaque élément en fonction des passages des mannequins, une bande-son représente plusieurs dizaines d’heures de travail pour capter la tension et l’attention. Son objectif: accompagner le défilé sans jamais écraser le proposde la collection.

Frédéric Sanchez est arrivé à la mode par la musique. Lancé par ses bandes-son travaillées au montage comme si chaque mannequi nétait l’image d’un film (expérimental), il oeuvre en direct avec les créateurs parmi lesquels Martin Margiela, Jil Sander, Calvin Klein, Marc Jacobs (1 ), Miuccia Prado, Bouchro Jarrar, Giambattista Valli.


Écouter, assembler, évoquer.


Oui ! Moi, je me suis intéressé à la mode à travers la musique, au moment où les pochettes de disques étaient faites par le graphiste Peter Saville, qui s’occupait aussi des catalogues de Yohji Yamamoto.
J’ai retrouvé dans la mode ce qui m’intéresse dans la musique : considérer le studio comme un terrain d’expérimentation et de création. Avec les vêtements, à partir de quelque chose de très brut, on crée.


Il n’y a pas de règles. Mon parti pris consiste à ne pas voir les vêtements, saut si le créateur le souhaite bien sûr. Ce qui m’importe, c’est la discussion. Il n’y a jamais de musique au départ, seulement des mots et des images mentales. En moyenne, je rencontre cinq fois le créateur et, avec le travail en studio, cela représente une quarantaine d’heures de travail.


Plus que du trac, c’est une angoisse avant les collections qui s’en va dès que cela commence. Un peu comme un acteur qui entre sur scène.


Pour Marc Jacobs, un montage avec Beyoncé (2) et un riff de guitare de Metallica (3). C’était ou début des années 2000, ou moment où l’on a commencé à mélanger des choses improbables grâce aux logiciels informatiques. Cela a donné une tendance, le mashup. Cela avait de la tenue.


J’utilise souvent des sons provenant de films : musiques, paroles, bruits.


Adrian Utley’s Guitar Orchestra, le projet du guitariste de Portishead, qui revisite magnifiquement« in C »,de Terry Riley (4).


John Cage.


Recherche, montage, visuel.

oct. 252013


Frederic Sanchez The Creator

Beginning his Career in fashion by producing soundtracks for maison Martin Margiela’s earliest runway shows, Frederic Sanchez has since continued on an all out audial colonisation of the industry’s heaviest hitters. Working alongside houses such as dior, Prada and Valentino, Sanchez has carved a career from creating worlds within sound that manifest the essence of fashion. for the Paris native however, this is one of many artistic avenues he has explored; also creating films and exhibiting sound installations in the world’s most hallowed galleries and museums.

ODDA — You have had long-standing collaborations with the industry’s most respected names; what attracts you to working with designers of fashion?
FREDERIC SANCHEZ — I found affinity with fashion through its laboratory of ideas. I am attracted to wor- king with fashion designers, because they also create through their five senses.
ODDA — You have said that your sound works best with a minimal aesthetic; how would you define the ‘aesthetic’ of your sound??
FREDERIC SANCHEZ — Minimal and poetic.
ODDA — over the course of your career, the music industry has encountered significant changes; have you felt the reverberations of this?
FREDERIC SANCHEZ — Since I began working in the late 80’s, the most significant change has been the growing importance of internet.
ODDA — are there any designers you have not worked with whose visual style you particularly admire?
FREDERIC SANCHEZ — Comme des Garçons.
ODDA — how do you translate the mood of a collec-
tion into sound?
FREDERIC SANCHEZ — Its created through long term work and conversation with a designer. I get the inspira- tion and then find the bridge between mood and sound.
ODDA — do you feel vision and sound emotionally engage with an audience on different levels? What makes the mix of the two so effective?
FREDERIC SANCHEZ — It’s true that vision and sound elicit different emotional responses, but I have always found that sound changes the perception of an image. I think that’s the essence of my work.
ODDA — What are your most trusted pieces of techno- logy that you use in the composing process?
FREDERIC SANCHEZ — My computer and Nuendo software, which I use for audio sequencing.
ODDA — You have exhibited in some of the world’s most prestigious galleries and museums, how did the process of creating installations differ from your work in fashion?
FREDERIC SANCHEZ — My work in fashion is comple- tely about collaboration, whilst creating installations is about putting myself out there on a 3D blank page.
ODDA — are there any projects you have always wanted to realize?
FREDERIC SANCHEZ — I’ve always wanted to write a book.
ODDA — Your most recent film was ‘le soldat sans visage'; what was the creative process behind it like?
FREdERIC SANCHEZ — The film was commissioned by Johanna Chevalier, who is a video art curator. She asked me to choose a piece of classical music and create a video inspired by it. It was a challenge, but I finally got a chance to put images to music myself.
ODDA — do you think there will be any more moving- image works in the near future?
FREDERIC SANCHEZ — Yes, definitely, I’m always working on different projects.
ODDA — Your work seems to follow in the footsteps
of greats such as stockhausen and Jean michel Jarre; how did you find your own niche in the world of elec- tronic music?
FREDERIC SANCHEZ — Perhaps it has to do with the fact that nothing was predestined. I have always just followed my own path with all the cultural and personal influences that I’ve turned into sound.

ART INFO September 2013


Sound Illustrator Frédéric Sanchez Readies for NYFW
by Katya Foreman Published: September 2, 2013

Among those packing their bags for New York Fashion Week, which kicks off on September 5, is king of the catwalk soundtracks, Frédéric Sanchez. The charismatic French sound illustrator, whose first gig was providing the music for the debut show of avant-garde Belgian designer Martin Margiela in 1988, will be providing the tunes for around 25 major shows this season, including Alexander Wang, Marc Jacobs, Calvin Klein, Prada, Jil Sander, Marni, Mary Katrantzou, Bouchra Jarrar and Damir Doma. Never box him in the DJ camp, however. Likening himself to an artist working with paint, Sanchez sees sound as a medium for creating mental images, just like the sound illustrators on the radio in the 1950s and 1960s.

Sanchez, whose first sound installation, “Contrepoint,” was presented at the Musée du Louvre in 2004, credits a number of figures from the art world with having pushed him to pursue his own artistic projects outside of the fashion arena. They include Marie-Claude Beaud, director of the Nouveau Musée National de Monaco, and the late artist Louise Bourgeois. “I work with different mediums and modular synthesizers to transform electric currents into sound. It’s a continuation of the work of people who inspired me as a kid, like [Karlheinz] Stockhausen,” says Sanchez, who creates his own videos and photos to accompany the works, which are presented on his website.

Among other inspirations, he likes to go to see opera singers in concert. “I’m not so into big stage productions anymore, nowadays I prefer to see opera singers perform with an orchestra, dressed all formally in a tuxedo. That way each person in the audience can let their imagination wander.” He also keeps a beady eye on all of the latest contemporary music releases, however, sourcing tracks from eBay and Amazon, which he stores on hard drives. His favorite Paris store for vinyl is Souffle Continu, in the city’s 11th arrondissement.
As the sound illustrator for some of the world’s biggest egos, Sanchez retains a healthy sense of humour, having survived some hairy moments, such as the time a power outage struck at a Givenchy men’s show a few seasons ago. “I pushed the button, and suddenly everything stopped”, he laughs. One of the most challenging aspects of his work, as for anyone else working in the fashion industry, is the accelerated pace and condensed nature of show seasons. Over time, he has had to adapt his art. “We try to be as efficient as possible and give a direct emotion, but one that stimulates the imagination at the same time,” says Sanchez, who has also designed soundtracks for a number of luxury brands’ venues, including Hermès’ Café Madong in Korea, the Hôtel Costes in Paris and the Prada Luna Rossa pop store currently operating in San Francisco.

With the shows days away, he has only just started working on this season’s compositions, though not through choice. Sound is one of the last components of a show, and it is Sanchez’s job to grasp the kind of mood and impact a designer wants to create in a heartbeat. When pushed for pointers, even Sanchez, at this late stage, doesn’t yet know what kind of sonic mood will dominate the runways this season. “What is particular to fashion is its last minute nature, it’s a constant work-in-progress compared to other arts like the theater or cinema where you can work on projects long in advance, experiment — do rehearsals. It’s stressful,” he says. “In fashion there’s always this feeling of being on a high wire without a net. Either everything goes to plan, or it doesn’t.”

Lien vers l’article

juil. 252013

VOGUE.FR 19 Juillet 2013

le_nouveau_romantisme_vogue_july _2013

juil. 052013
LE MONDE PARIS Juillet 2013



Alors que la Semaine de la mode masculine s’est clôturée le 30 juin et que Paris accueille jusqu’au 5 juillet les présentations des collections haute couture, retour sur un métier clé des défilés : celui d’illustrateur sonore. Depuis plus de vingt ans, le Français Frédéric Sanchez conçoit des bandes-son pour les créateurs.

Le : Comment vous est venue l’envie de travailler comme illustrateur sonore pour le milieu de la mode ?

Frédéric Sanchez : Je n’avais jamais réellement pensé travailler dans la mode. La danse m’a initié à cet univers. Dans les années 1980, il y existait plusieurs compagnies que l’on associait au « théâtre contemporain » de la danse. Parmi elles figurait celle de Régine Chopinot, dont les costumes étaient réalisés par Jean-Paul Gaultier. Ça a été un premier pas vers l’univers de la mode. L’autre point d’entrée a évidemment été la musique. J’adorais le label Factory et les groupes comme Joy Division ou New Order. Leurs pochettes de disque étaient faites par le graphiste Peter Saville. J’ai découvert qu’il faisait aussi les catalogues de mode du créateur japonais  Yoji Yamamoto. Je savais pas tellement quoi faire de cette passion absolue que je portais à la musique, mais ce qui m’intéressait réellement c’était de trouver un milieu où je pouvais trouver cette idée de spectacle total. Ensuite, comme souvent ce sont les contacts qui ont été déterminants. C’est avec [le créateur Belge] Martin Margiela que j’ai réalisé que je pouvais faire quelque choses d’intéressant avec la mode. J’avais un peu regardé comment étaient conçus les défilés à l’époque et – ça n’est pas une critique – les musiques choisies étaient généralement des « tubes » du moment. A mes yeux, cela datait beaucoup l’événement ; six mois après, un défilé semblait très dépassé. Or Martin et moi partagions ce point de vue : il disait souvent qu’il présentait une collection mais que son ambition était de casser un peu l’histoire des saisons. Je me suis retrouvé entouré de gens qui ont une vision expérimentale de la mode, qui la perçoivent comme un laboratoire de recherches. Je me suis inspiré des choses que j’aimais pour travailler la matière sonore. Le premier défilé de Martin a été une sorte de révolution dans son format et a profondément marqué l’histoire de la mode.
Comment concevez-vous une bande-son pour un défilé ?
Je dialogue beaucoup avec les créateurs. Le son c’est en quelque sorte l’envers du décor. Comme le parfum, il est une sorte de sensation non palpable et qui génère pourtant toute une ambiance. Il y a cette même approche sensorielle. Dans un premier temps, j’ai donc besoin de travailler avec les mots. Il faut sentir l’esprit de la collection avant de penser à la musique. Dans les studios de mode, il y a unmood-board [une planche d’inspiration] avec des images. Je m’en imprègne et après je les traduis en sons et en musiques. Le jour du défilé c’est presque le moment le moins important en réalité, il suffit d’appuyer sur « play ». Ce qui compte c’est la préparation. D’autant que je travaille beaucoup en studio. Le travail de montage est réalisé en amont. Et tout se fait au dernier moment, en général, une semaine avant le show. Quand j’ai commencé ce travail, on s’organisait pour commencer à réfléchir sur la question deux mois avant. Et puis, avec l’enchaînement des semaines de la mode et l’explosion du nombre de défilés, on ne peut plus fonctionner comme ça… Le temps s’est resserré. Aujourd’hui, c’est une sorte de mécanique un peu folle qui demande beaucoup d’organisation. Pendant sept ans, j’ai travaillé seul, à un moment il a fallu que je monte une équipe. Si l’on veut être très basique, disons que l’élaboration d’une bande-son pour un défilé requiert une quarantaine d’heures de travail.
Avec quels créateurs souhaitez-vous travailler ?
J’ai eu la chance de collaborer tout de suite avec des gens avec qui j’avais envie de travailler, comme Jil Sanders, Muccia Prada… Très vite, j’ai ressenti le besoin de ne pas rester cantonné à Paris. Mon travail ne différe pas en tant que tel d’une ville à l’autre, mais les visions de la mode, elles, varient. A New York, par exemple, j’ai pu rencontrer Marc Jacobs. Il y a un créateur avec qui je voulais réellement travailler : Calvin Klein. Il a, de mon point de vue, une approche vraiment intéressante notamment par son travail sur l’image. Je ne sollicite pas réellement les collaborations, je l’ai fait juste au début. Je travaille beaucoup avec des gens qui ont les même goûts que moi. Parfois, ça peut être très compliqué, il faut se faire violence. C’est quand même un travail artistique, si l’on accepte tout on tombe dans une histoire de business. Personnellement, c’est pas trop mon truc, j’aime garder cette dimension « expérimentale ». Sinon ça ne m’amuse pas. Mais ça m’est arrivé de travailler pour des gens qui n’ont pas les mêmes goûts et en général la collaboration ne dure qu’une saison. Ça c’était au début. Maintenant quand les gens m’appellent, je vais les rencontrer d’abord pour voir si ça colle. A travers ma bande-son j’essaie de transmettre une signature. Ce qui m’intéresse c’est qu’après toutes ces années, si l’on met les bandes-son réalisées pour chaque créateur bout à bout, on reconnaisse une patte… Pas la mienne, mais plutôt celle créée par la collaboration entre un créateur et moi. C’est un duo, une histoire. Je pense que c’est un peu comme une image de marque.


mai 222013



Frédéric Sanchez est illustrateur sonore des défilés de mode.

Comment définissez vous votre métier ?

J’ai développé depuis des années un travail mettant en relation le son et l’image. C’est à dire utiliser le son de manière à provoquer des images chez le spectateur et l’emmener dans une histoire. On me demande souvent si je me définis comme Dj ou musicien. J’ai toujours préféré dire que je suis illustrateur sonore. Un emprunt à l’univers radiophonique qui pour moi est plus poétique, plus émotionnel et se rapporte à la mémoire et aux souvenirs.
J’aime l’idée des feuilletons que l’on pouvait suivre à la radio avant que la télévision existe et dans lesquels des illustrateurs sonores mélangeaient des musiques et des bruitages de manière à créer des films sonores.

Quel est le changement majeur dans votre travail ?

Internet a beaucoup changé ma manière de rechercher des musiques. Avant je devais aller dans les boutiques de disques à Paris ou lors de mes voyages. Aujourd’hui c’est tout un monde qui s’offre à moi. Le problème des droits d’utilisation de la musique m’a aussi obligé à faire mes propres compositions. Je peux dire qu’internet m’a obligé à évoluer.
Les nouvelles technologies ont aussi énormément bouleversé ma technique de travail. J’ai commencé d’abord par utiliser les bandes magnétiques et aujourd’hui j’utilise des logiciels informatiques beaucoup plus sophistiqués.

Comment êtes vous arrivé dans le secteur de la mode ?

Je me suis construit à travers la musique. Des artistes comme David Bowie ont été très importants pour moi. J’ai été nourri par ses références visuelles, littéraires et musicales. Lors de la tournée qui accompagnait la sortie de son disque « Station to Station » , le Thin White Duke Tour en 1976 , il avait programmé en première partie le film de Luis Buñuel et Salvador Dali « Un chien Andalou » cela m’a inspiré et je me suis intéressé au surréalisme. Je peux dire ainsi que mon goût pour la mode s’est fait à travers la musique. Au début des années 80 j’aimais beaucoup les artistes (Joy division, Durutti Column etc…) du label anglais de Manchester Factory.
Toutes les pochettes de disques du label étaient réalisées par le graphiste Peter Saville qui, à la même époque, réalisait les catalogues du créateur de mode japonais Yoghi Yamamoto.
Je me suis familiarisé avec l’univers de ce dernier mais aussi avec ceux d’autres créateurs de mode : Comme des Garçons, Jean Paul Gaultier… J’ai découvert un milieu en constante recherche et j’ai été sensible au fait que la mode ce n’est pas uniquement des vêtements mais aussi des manipulations d’images et de sensations.

Au quotidien comment travaillez vous ? Quelles sont vos relations avec les créateurs ?

J’ai la chance d’avoir de longues relations avec certains créateurs comme avec Marc Jacobs ou Miuccia Prada ce qui m’amène à faire de la recherche pour eux tout au long de l’année. Lorsque vient le moment du défilé mon travail avec eux commence généralement par une discussion. Je regarde très peu les vêtements, j’ai besoin de ce moment intime provoqué par cet échange qui permettra à la musique de ne pas être simplement plaquée mais surtout de raconter une histoire.

Avez vous pensé à un défilé sans son ?

Oui, il y a très longtemps pour Martin Margiela. J’avais mis le volume de la musique très fort pour l’entrée des invités dans la salle et puis un silence brutal dés le début du défilé. L’assistance s’est mise à parler et ce murmure s’est superposé aux crépitements des appareils photos. Il y avait un sentiment de malaise provoqué par le vide et c’est comme si il fallait que l’espace soit absolument rempli de sons.

Comment masque t-on le silence au quotidien?

Je ne crois pas que l’on ait besoin de masquer le silence. Et d’ailleurs le silence absolu n’existe pas puisque, comme le dit John Cage, chacun de nous entend son propre sang couler dans ses veines. C’est peut-être ce qui fait peur aux personnes qui ont besoin d’avoir un fond sonore permanent. Fuir le silence pour ne pas se retrouver avec soi même…ou avec l’autre. C’est l’utilisation de la musique dans le but de gommer toute émotion. Ce qui me semble un étrange paradoxe. Lorsque j’ai commencé à travailler à New York, j’étais très surpris que l’on me demande de mettre de la musique avant les défilés. Je pensais à ces pauvres journalistes qui après une semaine de Fashion week devaient être saturés (j’imagine qu’il y a aussi des journalistes masculins ???) de musiques et en bon européen j’ai tenté de faire de la résistance. Malheureusement cette notion d’Entertainment les Américains l’ont imposée jusqu’en Europe.

Essayez vous de donner « une claque »aux journalistes lors des défilés comme certains le disent ? Est-ce pareil avec le son ?

Comme je le disais précédemment, ce qui est important pour moi c’est de provoquer des images et de donner à voir ce qui n’est pas visible. Créer un cadre poétique qui laisse place aux sensations et à l’imagination. Un peu à la manière d’un parfum. C’est pourquoi j’interviens beaucoup sur les musiques que j’utilise. A l’aide d’effets, de réverbération, d’échos je fais en sorte que la musique et le son deviennent non seulement un environnement mais surtout une signature qui résiste au temps. Je me demande souvent si ce n’est pas la musique qui démode la mode et c’est ce que j’essaye au maximum d’éviter.

Cela permet aussi une double lecture du défilé ? Au delà des vêtements, tout l’univers du créateur est mis en exergue…

Exactement. D’ailleurs la plupart des créateurs de mode avec lesquels je travaille mélangent des couches successives d’images. En plus de cette discussion qui est toujours la genèse d’une collaboration, j’aime regarder les moodboards dans les studios sur lesquels toutes les inspirations qui ont servi à construire une collection sont visibles.
Ainsi, je commence toujours par regarder et voir, puis je synthétise et interprète ces différentes émotions afin de donner à entendre, ressentir et imaginer.

Est-ce que la musique, via le rythme etc. structure le défilé ?

D’un défilé à l’autre le rythme des défilés et surtout celui des mannequins est identique. A mes débuts on me parlait souvent de musiques pour rythmer la marche des mannequins. Cela accentue pour moi l’aspect mécanique des défilés et je préfère suggérer de l’émotion et de la poésie.

Vos inspirations (cf. blog internet) sont souvent basées sur des images qui varient selon d’infimes nuances… Est-ce représentatif de votre travail ?

Je crois que la distance est une des particularités de mon travail. J’aime que le spectateur se pose des questions, qu’il soit habité par ce qu’il vient de voir et d’entendre. J’ai souvent remarqué qu’une compréhension trop immédiate était aussi vite oubliée. Pour cela j’ai développé une technique qui n’appartient qu’à moi et que je fais évoluer très lentement selon les inspirations.

Est-ce que cela à voir avec vos souvenirs ? D’où puisez-vous la sensibilité que vous retranscrivez dans vos créations ?

Cela a à voir avec mes souvenirs et avec ce que je vis et ce que j’ai pu vivre. Il y a souvent une part autobiographique dans mon travail. Même pour un travail de commande, je mets toujours beaucoup de moi-même, ce n’est jamais vide de sens.

Ce qui est intéressant aussi c’est que chacun fait sa propre interprétation de la musique ; qu’en pensez vous ?

Oui le rapport à la musique et au son est très individuel. Chacun peut avoir sa propre interprétation et celle ci varie selon l’humeur et selon l’instant. Je suis allé plus loin dans ce concept en créant des œuvres uniquement sonores pour des galeries d’art et des musées.

Pensez vous que votre métier évolue avec l’arrivée des défilés très spectaculaires au sens du décor ?

Oui cela accentue mon désir d’abstraction. Je pense par exemple au défilé de Marc Jacobs en février dernier, inspiré par cette œuvre d’Oliafur Elliasson « The Weather », montré dans ce lieu monumental le Lexington Avenue Armory à New York ; j’ai préféré utiliser un chœur très minimal évoluant pendant quinze minutes plutôt que le son de l’orage et un rythme techno effréné. J’aime opposer le sensible au spectaculaire. Finalement, depuis mes débuts avec Martin Margiela en 1988 je n’ai eu de cesse de vouloir pérenniser l’aspect anti-mode de mon travail.

Quel est l’avenir pour les défilés ?

Quelle que soit sa forme le défilé de mode a encore beaucoup d’avenir. C’est sur ce point qu’il est permis de faire un parallèle avec le monde de la musique.
Internet et la musique digitalisée n’ont-ils pas accentué le désir de voir des concerts ? Les sens des spectateurs n’ont ils pas besoin de poésie et d’émotions ?


mai 222013

REFINERY29.COM 15 Mai 2013


mai 102013

La Salamandre

Ange Leccia La déraison du Louvre

Alexander Wang fall women 2013/ 2014

Marc Jacobs fall women 2013/ 2014

Vera Wang fall women 2013/ 2014

Narciso Rodriguez fall women 2013/ 2014

Anna Sui Fall women 2013/ 2014

Calvin Klein fall women 2013/ 2014

Mary Katrantzou fall women 2013/ 2014

Alberta Ferretti fall women 2013/ 2014

Prada fall women 2013/ 2014

Jil Sander fall women 2013/ 2014

Marni fall women 2013/ 2014

Missoni fall women 2013/ 2014

Balenciaga fall women 2013/ 2014

Ann Demeulemeester fall women 2013/ 2014

Acne fall women 2013/ 2014

Giambattista Valli fal women 2013/ 2014

Moncler fall women 2013/ 2014

Miu Miu fall women 2013/ 2014

Jil Sander fall men 2013/ 2014

Calvin klein fall men 2013/ 2014

Prada fall men 2013/ 2014

Hugo fall men 2013/ 2014

Bouchra Jarrar spring haute couture 2013

Giambattista Valli spring haute couture 2013

Alexander Wang spring women  2013

Versace couture fall winter 2012/2013

Rue du mail spring women 2013

Prada spring women  2013

Pedro Lourenco spring women 2013

Narciso Rodriguez spring women  2013

Miu Miu spring women 2013

Mary Katranzou spring women 2013

Marc Jacobs spring women  2013

Jil Sancer spring women 2013

Giambattista Valli spring women 2013

Calvin Klein spring women 2013

Anna Sui spring women 2013

avril 292013

VOGUE.FR 22 Mars 2013


avril 292013


Frederic Sanchez’s work has always managed to induce a kind of synesthesia, blurring the lines between what people hear, see, and feel. Among the most in-demand sound designers in the biz, the 46-year-old musician and producer has created sonic landscapes for Prada, Marc Jacobs, and Givenchy fashion shows, among many others. Surprisingly, Sanchez didn’t even attempt to play an instrument as a kid growing up in Paris-rather, a Beatles album inherited from his older sister sparked a voracious curiosity about sound that led him to the ambient and experimental works of John Cale, Brian Eno, and Robert Wyatt. « Listening to music became my passion, » he says. « I transformed that passion into work, but it almost happened by coincidence. » After dropping out of college, Sanchez worked briefly in the theater and then ran an eponymous record shop in Paris that doubled as an art gallery and a performance space. (He shut it in 2002, citing the onerous time demands of operating a retail business.) But a chance meeting with the elusive Martin Margiela in 1988 led Sanchez to his first job assembling music for a fashion show. « I didn’t know much about fashion, » he admits, « but I was very into artists like Roxy Music and David Bowie, which led me to fashion. » Since then, Sanchez has composed original sound installations for not only his fashion clients, but a number of galleries and museums, including the Louvre. He has also begtm to create original multimedia works that integrate music, photography, and film. « When I work with fashion, I often collaborate with other artists, so it’s more of a conversation, » he says.  »
The job is to create sound images that reflect the fashion. Whereas when I do work for galleries and museums, it’s only me, and I’m trying to create a sound installation that will allow each person to have a unique experience, so that they visualize an image based on what they hear. »


Propos recueillis par Thibaut Wychwowanok.
Photo Pierre Even
Le concepteur sonore compose un récit très autobiographique. L’histoire, c’est que j’ai été très marqué par mon grand-père. Fixant le vide, l’immensité devant lui, il écoutait la radio espagnole. C’était le seul moyen pour lui de s’échapper, de revivre l’Espagne qu’il avait quittée. Assister à ces scènes a été très important pour moi. Aujourd’hui, quand je pense au son, des images me reviennent. Oui, mon rapport à la musique est très autobiographique. Mon premier choc esthétique a dû être Abbey Road. J’avais 6 ans. J’aimais qu’une histoire soit racontée. J’ai commencé à m’intéresser à des musiques qui avaient ce potentiel narratif et visuel – le rock progressif des années 70 de Genesis et de Van der Graaf Generator – , puis à l’imaginaire dans lequel nous plonge la musique classique et contemporaine. J’ai construit mon univers avec ça. Je me suis rendu compte à quel point Serge Gainsbourg, dont je n’étais pourtant pas le plus grand fan, avait suscité en moi un intérêt pour la littérature et un goût pour la peinture. L’histoire, c’est que tout cela a toujours été très personnel. J’ai commencé à me réapproprier le son, à le travailler, à le recomposer, à le découper, à utiliser de nombreux effets. Pour donner à voir. La musique est une manière de communiquer. Elle a quelque chose d’abstrait que chacun peut saisir. Les gens peuvent s’inventer leurs propres images. En écoutant mon travail, certains amis ne peuvent s’empêcher de sourire parce qu’ils retrouvent des choses de moi qu’ils ont connues il y a des années. Comme si j’avais arrêté le temps, comme si ces choses n’avaient pas vieilli. Elles sont presque suspendues. L’histoire, c’est que depuis toutes ces années, je me suis construit, mais je me suis découvert aussi.
janv. 092013

Hôtel Cheval Blanc

Prada Real Fantasy printemps été 2012

janv. 082013
janv. 082013
janv. 082013
janv. 082013
janv. 072013

Miu Miu femme pintemps été 2013

Prada homme printemps été 2013

PRADA femme printemps été 2013

Prada Real Fantasy printemps été 2012

janv. 072013

Castles in the air

Miu Miu femme automne hiver 2012/ 2013

Bettina Rheims Gender Studies

Prada femme automne hiver 2012/ 2013

janv. 062013

Dior Nathalie Portman Frédéric Auerbach

Prada homme automne hiver 2012/ 2013

janv. 052013

MODZIQ Septembre 2012


Propos recueillis par: Joss Danjean / Photo par: Matias Indjic

Il fait partie du club très fermé des illustrateurs sonores spécialisés dans le domaine de la mode, mais, Frédéric Sanchez possède, également, bien d’autres cordes à son arc, comme ses expositions ou installations sonores propres à faire voyager ses visiteurs dans un autre monde.
Rencontre avec ce designer sonore pas comme les autres …

Peux-tu nous raconter ton parcours ?

J’ai transformé une passion en travail. Ce n’est pas un accident, mais c’est une histoire de hasards ou de rencontres plutôt. J’ai, tout d’abord, commencé à m’intéresser au milieu de la danse, surtout dans les années 80, avec Philippe Decouflé, Régine Chopinot … Et, ces gens avaient des liens avec la mode, comme par exemple, Régine Chopinot avec Gaultier, ou encore, quelqu’un comme Sapho, que j’adorais, qui était aussi habillée par Gaultier. .. À cette époque, j’étais aussi très branché par la musique de Manchesteret et le label Factory, par la new wave comme Joy Division … Le graphiste Peter Saville de Factory réalisait les graphismes de Yohji Yamamoto … Par ce biais-là, j’ai commencé à m’intéresser à l’univers de la mode.

Quelle a été la ou les rencontre(s)-clés ?

J’ai débuté dans le monde du théâtre, en travaillant au service de presse pour le Théâtre du Châtelet. Ensuite, totalement par hasard, je suis devenu assistant de Michèle Montagne, qui recommençait avec une créatrice, en l’occurrence Martine Sitbon.
J’étais un très mauvais attaché de presse, mais je passais de la musique dans le bureau toute la journée. Un jour, elle avait un problème avec la musique pour un défilé et Michèle lui a dit: tu devrais voir avec Frédéric, il s’y connaît très bien. Et puis, elle travaillait avec quelqu’un d’autre, donc je ne signais pas vraiment la partie musicale. Un an plus tard, elle m’a présenté Martin Margiela, qui sortait à peine de chez Gaultier : nous nous sommes très bien entendus et nous avons décidé de travailler ensemble. J’ai alors signé ma première musique de défilé! C’était vraiment important pour moi, car nous avons travaillé ensemble pendant deux mois, et nous avons réellement essayé de réaliser quelque chose de nouveau et d’original. Avant cela, les défilés étaient toujours sur le modèle de la couture avec un côté très théâtralisé, et là, l’idée était de faire un happening avec une musique continue du début jusqu’à la fin, des musiques chaotiques, cassées, pas du tout mixées, coupées. Cela a marqué une vraie cassure, d’une part par rapport au travail de Martin et,ensuite, par rapport à la musique dans les défilés. Je pense qu’on est toujours dans ce système aujourd’hui …

Quelles sont tes collaborations les plus emblématiques ?

En fait, je dirais qu’elles sont toutes emblématiques, car ce sont de longues histoires : j’ai commencé avec Martine Sitbon en 1991, avec Prada et MiuMiu en 1994, MarcJacobs en 1994 aussi,et puis Calvin Klein … Au début, Prada était déjà une grande maison, mais pas avec les mêmes moyens qu’à l’époque d’Azzaro, par exemple. Je suis heureux d’avoir participé à l’évolution de la marque.

Quel est le changement majeur dans ton travail ?

Ce qui a définitivement tout bouleversé, c’est Internet, indéniablement. En fait, ce que j’ai essayé de faire depuis mes débuts, c’était de travailler avec des musiques existantes et d’en faire presque une nouvelle composition. Internet apoussé à réaliser de vraies compositions.

Que penses-tu des collaborations entre artistes et marques ?

A la fin des années 90, il y avait pas mal de collaborations avec des artistes et des marques, au moment où j’avais cette boutique rue Sainte-Anastase. Beaucoup d’artistes de Berlin, d’ailleurs, si je me souviens bien, m’envoyaient leur musique. En fait, c’était aussi une période où je recherchais cela, alors qu’aujourd’hui, pas du tout.

Pourquoi cela ?

Parce que dans les années 2000, on est revenu à « faire de la mode », et c’est plus << comment on assemblait tout cela » qui importait. L’illustrateur sonore est revenu à une action plus artistique, de recherche, d’assemblage …

Aujourd’hui, quel est le procédé quand il est question de réaliser une bande-son pour un défilé ?

En ce moment, il y a une envie de recommencer à travailler plus en amont, moins en période de stress, des jeunes maisons comme Bouchra Jarrar… Avec Martine, au début des années 90, on s’y prenait trois mois avant …

Quels sont les derniers défilés sur lesquels tu as travaillé ?

Il y a bien sûr Marc Jacobs, Calvin Klein ou Margiela, mais aussi Yves Saint Laurent, Versace ou Acne …

Le procédé saccadé-coupé est-il toujours de mise ou le mixage tient encore de haut du pavé ?

C’est-à-dire que pour moi, ce procédé a été ma marque de fabrique, et je pense être allé au bout de celui-ci. Ensuite, j’ai fait le morceau unique, en particulier avec Marc. Après, il y a eu les mashups: prendre Beyoncé avec Metallica … Même mélanger trois morceaux ensemble … Tout est encore possible aujourd’hui, selon les envies du designer. Certains n’ont aucune référence musicale, mais savent exactement l’effet qu’ils veulent atteindre, et d’autres vont me parler que par image, et à moi de le traduire en musique.

Le lieu n’a-t-il pas un rôle important aussi dans ta réflexion ?

Bien sûr, c’est un axe primordial: l’espace, la manière de diffusion du son, la résonance sont des paramètres très importants dans mon travail. Un des premiers rendez-vous de travail est la visite du lieu. En général, je fais toujours rajouter des basses : je trouve qu’il n’y en a jamais assez! Et puis, ces endroits ne sont, en général, pas prévus pour diffuser de la musique, donc il faut en tirer le meilleur parti.

D’où un rapport entre musique et image, via la mode donc?

Cela m’a amené à faire un film en Allemagne, Le Soldat Sans Visage, pas très connu. J’ai réalisé la bande-son du film de Patrice Chéreau, Intimité; un autre intitulé Le Secret, de la réalisatrice VirginieWagon ; de nombreux courts métrages de mode, comme dernièrement Dior et Natalie Portman ; et aussi, beaucoup de musiques pour des vidéos d’artistes, comme Ange Leccia, par exemple.

Une partie de ton travail est aussi plus personnelle ?

Oui, je réalise des installations sonores, en ce sens, je travaille comme un plasticien. J’ai fait plusieurs expositions (Grand Palais) avec seulement un travail sur le son. Par exemple, je vais disposer 18 enceintes- que l’on ne voit pas- dans un espace donné, afin de créer un environnement sonore particulier. C’est comme de l’architecture sonore. Mon travail, c’est qu’il n’y ait plus de forme, sauf celle que l’on se crée soi-même en entendant le son. Cela rejoint ce que j’ai toujours fait avec la mode: raconter une histoire avec du son.

Tu apportes aussi ton talent au service de marques ?

Oui, c’est le cas avec Harrods, l’Hôtel Costes, Air France, Hermès, Peugeot, ou encore, la FIAC … C’est assez varié comme style.

Les tendances de mode, comme les couleurs ou le retour de telle ou telle tonalité ou coupe, induisent ellesquelque chose dans ton travail sonore?

Pas forcément, mais je me souviens de ce défilé Miu Miu, il y a trois ou quatre saisons, avec des vieux tissus ou tapis, c’était une réflexion sur la crise, d’une certaine manière. Moi, j’avais raconté une histoire avec un tempo de hip-hop, façon début années 80, sur lequel j’avais plaqué des extraits du film Fellini Roma. Dans le film, ils découvrent des anciennes fresques romaines et font un trou pour les mettre à jour. Une fois à l’air libre, elles disparaissent.

Ce travail d’illustrations sonores demande une culture assez fantastique, non ?

Il faut que, dans un laps de temps assez court, on puisse te parler de réminiscences aussi diverses de la musique, d’Antonioni en passant par les mangas. Il faut être très réactif et rapide. C’est aussi pourquoi il n’y a pas autant de gens qui peuvent faire ce travail.

Hormis la musique, utilises-tu aussi des bruits divers et variés?

Oui, bien sûr, j’ai beaucoup mélangé – et je le fais toujours – la musique et les bruits : la pluie, les bruits de pas, le vent … Ce sont mes références à moi. A une période, il y avait des avions et desvoitures. Mais pourquoi, je ne sais pas ! J’ai fait, également, des bandes-sonores sans musique : jeme souviens d’un défilé Miu Miu, uniquement composé d’extraits de dialogues de films, une quinzaine en dix minutes. J’avais fait des choix en rapport avec l’univers de la marque autour d’une réflexion sur la bourgeoisie, donc il y avait du Fassbinder, Werner Schroeter, des films expérimentaux des années 70, ou encore, Violence et Passion de Visconti …

Quels sont les artistes musicaux qui t’ont marqué?

Des artistes, comme Brian Eno, ont eu une influence indéniable sur mon propre travail. .. Et finalement, on se rend compte qu’on fait aussi les choses qu’on aime déjà soi-même, je pense …

TANK MAGAZINE 15 Septembre 2012


Frédéric Sanchez is not a DJ – even if he has been soundtracking major fashion designers’ catwalk shows for nearly 25 years. « I’ve never been one, » he says by phone from his holiday in Normandy, as seagulls squawk in the background. « I’ve always considered what I do as artistic. » And, it turns out, he wasn’t always that into fashion either: « I’d always been a music lover, » he says, « but wasn’t really interested until I saw people like Peter Savile doing both Factory record covers and catalogues for Yohji Yamamoto. I’d always liked it when different artistic disciplines mix – and then I met Martin. » That was in 1988, and Martin was Martin Margiela, and the result was Frédéric providing the music for the designer’s first ever show. « That moment laid the foundations of my work, » he explains. « I was inspired by how experimental films were edited and how the sound was worked on as much as the image. I’m not interested in just sticking some background music on; it’s about creating a signature, something that really belongs to each house. » Since 1988, Frédéric has moved from maison to maison, working with a who’s who of fashion. « My collaborations with most of them are really long – almost 18 years with Marc Jacobs – so I’ve really participated in the artistic aspects of their careers, » he says, going someway to explaining his longevity in the face of fashion’s permanent desire for the new. « But then, for me it’s not really about working for big brands; it’s about working for designers, people like Miuccia Prada – who work for their own companies. There’s a laboratory, R&D side that really interests me. » In fact, he says, he doesn’t even really look at the clothes: « I talk a lot with the designer and then together we create sounds that provoke images for people during the show. It’s about creating a décor – a physical atmosphere that works on the senses, like a perfume. » We asked Frédéric to compile a playlist exclusively for O: by Tank readers, which you can listen to via app. « I’ve put together a selection that’s pretty personal, » he says, « I wanted it to be poetic, so I chose someone I’ve always adored: Richard Jobson. I love his literary references – Marguerite Duras, Jean Cocteau and Jean Genet – which are mine, too. I also like really minimalist electro: so there’s a kid called Ben Frost and stuff by Alva Noto with Ryuchi Sakamoto. Then there’s the classical with Satie, Wagner and Strauss. So I’ve mixed up all these influences to create a selection that’s really European and also tells my own life story. It’s about my taste, the tastes I’ve always had. »

Credits: Texte par: Tom Ridgway / Photo par: Pierre Henri Chauveau

Lien vers l’article

déc. 142012

Program 16

PROGRAM 8 Soul Bass

déc. 142012

Program 15

Under Der Linden