Frederic Sanchez

Honeysuckle – October 29th, 2019

Frédéric Sanchez: The Sound Designer Who Makes Prada Sing

By Xinyu Wang

The sound of Frédéric Sanchez is unmistakable, unavoidable. It has rung over the bright, cheery show stages of Prada, hovered over Natalie Portman’s sun-lit Dior campaign like an eerie memory, and boomed in true 90s grunge fashion as a wild Donatella flung her hair to his beat. In Mr. Sanchez’s 31 years working within the fashion industry, he has collaborated with everybody from the artist Louise Bourgeois to the Louvre museum to his most loyal “partner in crime” Miuccia Prada. Whatever his task may be, however dreamy, ethereal, and cerebral the assignment presented, Mr. Sanchez never fails to sneak something dark and throbbing into these artistic visions– like a subversive sub-plot eagerly unfolding beneath the organic narrative.

Take his work for the Prada Fall 2019 show as an example. A field of light bulbs lit up the venue like will-o’-the-wisps in a modern mechanical graveyard, and models’ thick-soled loafers and military boots crushed against the granite-colored spikes paved on the floor. In the air, the music segued between electronic pulses to romantic strings to dramatic keyboards, slowly constructing a scene in the viewer’s mind of a dark netherworld. The show’s title was “Anatomy of Romance”, and Sanchez’s soundtrack played perfectly against Ms. Prada’s fantastic imagination. Or, play any of his composition and close your eyes, and your wildest day-dreams will materialize through the pure evocative power of sounds. There’s a whole forest humming to its own animated heartbeat in his work for Nina Ricci Fall 2019; a Matrix world with unknown forces running up and down in a grid-planned city in Berluti’s campaign; and a desert caravan playing on airy, wooden instruments in Hermes. But then again, these are my imaginations, and yours likely will differ. Amazing is Mr. Sanchez’s ability to jug on these faculties of his viewers’ mind and open up a parallel world of fantasy and imagination, and it’s an immense pleasure to have him answer a few questions here at Honeysuckle Magazine about his influences and his work process.

HONEYSUCKLE: How did you become a sound designer? And what drew you to designing sounds for the fashion industry in the first place?

MR. SANCHEZ: Since I was a child, I was fascinated with the work of certain musicians. The way they could develop their aesthetic through the production and the visuals: record sleeves, expressionist or theatrical concert performance… I also understood that I could talk about myself through music, that it could be a very important part of my own mythology and a mirror to the passing time. But I never imagined that I could work with this passion.

Then, when I left school, I was lucky enough to meet people that became my mentors. First in the theatre field and after in the fashion industry, where I discovered how important music can be for a fashion show. S,o I created my own language in order to make this even more important.

HS: It must have been a long journey since 1988, when you designed the soundtrack for Martin Margiela’s first show. How do you think the industry has shifted with time? Do these changes influence your work?

SANCHEZ: When I started working with Martin, which was the first designer for whom I created a soundtrack, I had to invent my own language and aesthetic. So, I bought a reel-to-reel tape machine because I had the idea you could edit music in the same way you could edit films. This very raw and organic way to make soundtracks was a way for me to make myself stand out from musicians or DJs.

Oddly, it became a sort of manifesto for what became the 90s’ minimalist aesthetic. Then at the end of the 90s, I felt that I had to make a change, and I started working with sophisticated software. This gave me so many possibilities that I wanted to use a lot of references, and my work shifted from minimalist to maximalist. This was also happening with fashion designers’ work at that time. So as I always try to keep my work in movement, I can say that since the first Martin Margiela show, my work has always shifted naturally with what was going to happen.

HS: You and Prada have been working together for a very long time. How did you come to design sounds for her? What is it like to work with her?

SANCHEZ: I met Miuccia Prada in New York in 1994 . This was my first season there, and by coincidence I had the opportunity to work for her. It was for a Miu Miu show. Then she asked me to work also for Prada. As she is a designer who always comes up with new ideas each season and goes in directions nobody expects, I find working with her always a very interesting challenge.

HS: What do you keep in mind when designing sounds for runway shows? There’s the clothing, of course. But are other factors (lighting, set design, etc.) a big part of it as well?

SANCHEZ: I look at everything: the light, the set, but also the architecture of the venue and its acoustics. All these elements are very important for me. But more than the clothes, I find the conversation I have with the designer and the way we conceptualize what we are doing to be the most important. It is an intellectual work.

HS: What’s your creative process like? Do you start with a piece of sound, or do you start with art from other mediums, like literature, photography, or films?

SANCHEZ: As I said before, it is the conversation which is the most important. And yes, it could be a book or a film, but it could also be what is happening in the world. I find it very inspiring when there are a lot of ideas put together. This is why I usually love to look at moodboards where fashion designers pin many images.

HS: Who are some artists you look up to or have always inspired you?

SANCHEZ: I have always been inspired by artists using different mediums and also artists with a theatrical edge. This is why I love Richard Wagner’s opera. My culture really comes from this idea of total art, what is called “gesamtkunstwerk“.

HS: What are some of your favorite books?

SANCHEZ: I am very French in my taste: Marguerite Duras, Marcel Proust. But I also enjoy reading theatre plays very much. They are great for the imagination.

HS: Who are you listening to recently?

Mr. Sanchez: Recently, I was listening to a lot of Brazilian music, and I also discovered a new American singer from the West Coast: Jessica Pratt. We are going to play one of her songs for the Anna Sui show in New York.

Honeysuckle: What are a few of your proudest compositions? And what were these mixes like?

SANCHEZ: I cannot really answer about what my favorite compositions [are]. What I am very proud of is to have built long relationship with certain designers. It is my comfort zone in a field not known for sustainability.

Business Of Fashion – September 19th, 2019

Prada’s Deliberate Naivety

By Tim Blanks

​MILAN, Italy — All the sophisticated technological gambits in the world have brought us to this. They promised a quantum leap in consciousness and connectivity. Instead, they gifted us Zuckerberg and Bezos and Brexit and Trump and a coterie of phoney strongmen who burnish their egos and plump their bank accounts while the Amazon burns and biblical storms swamp the planet. Now hope lies in the innocence of a Swedish teenager and the millions of children around the world that she has inspired, their futures torn away by antediluvian robber barons in the name of short-term profit. But Greta Thunberg is extraordinary proof that naïveté can speak truth to power.

This isn’t to say Miuccia Prada is innocent. She has a past of fierce political activism, and her recent collections have simmered with anger. But her show on Wednesday night drew on a different energy. It was so Zen-serene that it could almost have been a collection for the end of the world, or at least the end of the fashion industry. It was deliberately naïve in its simplicity. Miuccia said that she’d originally wanted it to be even simpler but, in the end, she loved fashion too much not to introduce overtly fashion-y flourishes, like the graphically patterned knits. Still, she insisted the opening look was her favourite. That was Freja Beha Erichsen in a ribbed grey top, a gauzy white mid-calf skirt and loafers, with Guido Palau’s boarding-school-strict side-part. No extraneous detail whatsoever. I can’t imagine what could have been simpler, short of nudity.

The gently lyrical soundtrack from longtime collaborator Frederic Sanchez drew on various permutations of the French group Air’s career. With that in our ears, it was hard not to feel the humanity in Miuccia’s collection. “In this moment where everything is excess — too much fashion, too many clothes — I tried to work it so the person is most important,” she said afterwards. And how did she achieve that? By making each woman complicit in the clothes she was wearing. OK, I might be overstating that, but it really wasn’t so difficult to imagine someone collecting shells to make her own necklace, or whisking up a skirt from a piece of muslin. (She’d scarcely even need to hem it. Miuccia didn’t.)

That wasn’t the whole story. There were mosaic -patterned knits and jacquard pantsuits. There was also a gold leather suit with a three-quarter sleeve, and the most gorgeous scarf-backed black dress, like something Adrian would have designed for a Golden Age of Hollywood diva. But these looks felt like an old-time adjunct to the main story, like a backwards glance at an era that had already been co-opted by the beautiful body of the collection. “More simple, less useless stuff,” said Miuccia. Her hats looked made from scraps (albeit python and gold leather). There was a tippet of crushed velvet, and a curlicued high heel that might have been extracted from a bag of goodwill castoffs. Giving new life to old bits and pieces — it’s what these overloaded times demand. Nothing need be as disposable as we have allowed it to be. And fashion figurehead Miuccia Prada made the most irresistibly simple, elegant case for that point of view.

Fashion Network – September 16th, 2019

Le romantisme celtique de Simone Rocha

Godfrey Deeny

​Simone Rocha a puisé son inspiration à des sources obscures, mais ses créations étaient exceptionnellement lumineuses, dans la collection particulièrement mémorable qu’elle a présentée à l’Alexandra Palace dimanche soir à Londres.

Le défilé était présenté dans un ancien théâtre grandiose et complètement en ruines au sein de l’Alexandra Palace, bâti sur Muswell Hill, qui domine la ville de Londres. Le vieux parquet en pin et l’espace brut se juxtaposaient idéalement aux vêtements : un amalgame de romantisme aristocratique, de chic druidique et de punk BCBG. Tous les Londoniens surnomment ce bâtiment en plutôt sale état Ally Pally, un terme affectueux et plein d’admiration pour une vieille amie… tout comme la réaction suscitée par cette collection très spéciale.

Simone Rocha est partie de l’antique tradition celte du Wren Day, ou « jour du roitelet », qui voit des « wren boys » chasser un oiseau fictif, le mettre sur une pique et faire la fête affublés de vêtements de paille et de masques avec une excentricité digne d’un cirque. On célèbre encore le Wren Day chaque année à Sandymount Green, sur la côte dans la banlieue de Dublin, la ville natale de Simone Rocha. Parce que les roitelets chantent tard dans l’hiver, ils représentent l’année qui s’achève, et en tuer un symbolise le passage à la nouvelle année.

Mais l’imagination de Simone Rocha est fertile, et elle a poussé le concept bien plus loin. En ouverture, de très belles robes rebrodées en blanc et bleu de Delft, associées à des mules et des sandales garnies de pointes punk et de talons imitant le verre taillé, en plexiglas. Les robes étaient coupées avec des manches gigot, des épaules pointues, et de savants jeux d’épaisseurs et de transparence.

Mais les jeunes Celtes de Simone Rocha n’avaient rien d’effrayant. Elles offraient au contraire un superbe panaché de trenchs asymétriques, de broderies en paille brute, de volants à n’en plus finir et de multiples rangs de perles. Des brins de paille étaient également tressés dans les cheveux de certains mannequins, qui affichaient tous les âges et toutes les attitudes.

Toute une troupe de it girls – Paloma Faith, Lulu Guiness, Lauren Santo Domingo – un régiment d’acheteurs et tous les rédacteurs qui comptent à Londres avaient accompli le périple d’une heure pour arriver dans le nord, tant est grande la considération dont jouit Simone Rocha.

Avec une bande son fantastique de la part du DJ Frédéric Sanchez, et notamment un mash-up de Flip Flops de Moving Elements, c’était vraiment un moment à part. Et alors qu’on boucle le premier tiers des 29 jours de cette saison internationale, c’était sûrement la collection la plus importante à ce jour.

Simone Rocha s’est attiré une ovation prolongée et tonitruante quand elle est venue saluer avec délicatesse, avant qu’une horde de rédacteurs ne la suivent en coulisses pour la féliciter. Menée au petit trot par Anna Wintour.

NINA RICCI – Spring/Summer 2020 – Original music for the video

SHIATZY CHEN 2020 Spring Summer – Original music for the video

Jil Sander Spring/Summer 20120 Women’s Show – Original music for the video

Hermès Women’s spring-summer 2020 runway show – Original music for the video

Versace Women’s Spring-Summer 2020 | Fashion Show – Original music for the video

Miu Miu Spring/Summer 2020 Fashion Show – Original music for the video

Prada Spring/Summer 2020 Womenswear Show – Original music for the video

365, Prada Fall/Winter 2019 Advertising Campaign – Anatomy of Romance – Original music for the video

Versace Men’s Spring-Summer 2020 Fashion Show – Original music for the video

Berluti spring summer 2020 fashion show – Original music for the video

Jil Sander Spring/Summer 2020 Men’s Show – Original music for the video

PAL ZILERI S/S 2020 Fashion Show – Original music for the video

Miu Miu Croisière 2020 Fashion Show – Original music for the video

Prada Spring/Summer 2020 Menswear Show – Original music for the video

Prada Resort 2020 Fashion show – Original music for the video

Hermès Women’s Autumn-Winter 2019 Collection – Original music for the video

Versace Jeans Couture. Original music for the video

Jun 252019

Vogue – June 21st, 2019


Gigi Hadid is shaping up as a versatile impact substitute transplanted from the womenswear runways to this season’s menswear. After a warm-up at Versace, she closed Off-White and then this afternoon’s Berluti, where there were plenty of women’s looks on show for an audience that included Ricky Martin and un des fréres Jonas. Berluti is supposed to be LVMH’s solely all-menswear marque, but Kris Van Assche is not down with the same-sex, boarding school vibe. He said: “This is a man’s brand, there is no doubt, but it is also nice to play with seduction…I told Piergiorgio [Del Moro], ‘Bring me the most beautiful girls in the world, because the world needs beauty!’”

Even without Del Moro’s hotties in their ostrich-hazed suiting and painterly printed silk shirting, there was beauty here, plus a nice logic behind it, in the most interesting new fabrication of the collection. This was a precise studding of what resembled small nailheads, applied to an oversized bomber and backpack and then a suit. It was inspired by Van Assche’s observation that while at work in Berluti’s Ferrara factory, the shoemakers often hold nails between their lips while attaching an upper to a sole. Said Van Assche: “It’s just like when people in the atelier put the pins in their mouth…and I was like, this [Ferrara] is really my atelier now. This know-how is usually under the surface…but I wanted to put it on the outside and use it as an embellishment because it is such an inside part of the house.”

Van Assche again mixed tailoring with moto-inspired pieces to evoke the complementary interplay of heritage values and fashion-forwardness he is working to achieve. This was also exemplified in the orange-accent-soled Alessandro shoes and the orange piping on this season’s bag offer. The color of the suiting, some of which included armless jackets and overcoats, or went Bermuda-formal, was a filtered-up, acidified, accentuated interpretation of the palette of dyes used at Berluti to give its footwear that famous rich patina. The house’s scritto motif (the reproduction of a calligraphically expressive 19th-century manuscript transferred to leather)—once hidden away from the Berluti show-sphere but long a popular category among customers for shoes and small leather goods—was transferred to some of that suiting and other coats and suits tailored in leather. One rare-ish all-black look placed a long perforated topcoat against a studded croc briefcase to emanate cashed-up John Wick menace.

Frédéric Sanchez’s breezy soundtrack blended Anne Clark’s Elegy for a Lost Summer with breathy dialogue from Alphaville to build a beguiling sonic parure at this sometimes beautiful but always Berluti-ful show.

Fashion Network – June 16th, 2019

Versace met le feu à Milan

Par Godfrey Deeny
Traduit par Marguerite Capelle

La maison Versace semble soudain avoir le feu sacré, d’un point de vue esthétique comme commercial, après la présentation par Donatella samedi soir d’une collection masculine énergique et raffinée.

Elle était dédiée à feu son ami, le regretté Keith Flint, de The Prodigy, dont la musique entraînante a donné le coup d’envoi de ce défilé impressionnant.

Au son de Firestarter, tube emblématique de Keith, résonnant dans les enceintes du Palazzo Versace sur la via Gesù, au cœur de la ville, Donatella a proposé une sélection prodigieuse de looks de rocker. C’était un défilé mixte, inauguré par Gigi Hadid en imper d’espionne en cuir noir complété par une ceinture harnais, tandis que Bella concluait le défilé en tailleur pantalon et soutien-gorge scintillants anthracite.

Le public était installé sur une série de bancs et d’ottomanes recouvertes des imprimés ultra-colorés emblématiques de Versace, et les mannequins défilaient sur un podium surélevé en plexiglas teinté lilas. Les mêmes imprimés apparaissaient sur des vestes en jean oversized et des chemises de soirée en soie, pour les garçons… ou pour les filles : des motifs pop classiques où Narcisse et Bacchus rivalisaient pour attirer l’attention, sur des tailleurs pantalon provocants ou des robes du soir qui ne cachaient pas grand-chose.

« J’ai voulu dédier cette collection à mon ami Keith, de the Prodigy, qui malheureusement nous a quitté. J’ai été la première à le convaincre de participer à un défilé de mode et l’accueil a été absolument époustouflant. C’était un vrai Firestarter, un incendiaire ! » a expliqué l’éternellement blonde Donatella.

Plusieurs tops portaient cette fameuse coupe à pointes et teinture fluo qui était la signature capillaire de Keith, en pantalons de cuir percés de centaines d’œillets et pièces en denim ajourées et délavées à l’acide. D’autres mannequins plus sensibles défilaient avec des cabas ornés d’orchidées fraîchement coupées.

Et dans une démonstration de couture particulièrement chic, des costumes et redingotes divisés à la verticale en bleu marine et prince-de-galles, le même imprimé à carreaux également déployé sur des vestes cirées sensationnelles : le look idéal pour des lauréats des Grammy Awards.

Donatella est venue saluer sur l’estrade centrale, construite autour de la carcasse d’une Lamborghini recouverte d’une énorme cascade de fleurs ; cette même voiture apparaissait sur d’autres imprimés encore. Elle a été imaginée par le Canadien Andy Dixon, l’artiste qui avait imaginé l’installation de la maison pour le Salone del Mobile de cette année.

Selon Donatella, cette voiture haut de gamme était une métaphore de « la frontière entre le masculin et le féminin, une ligne toujours plus floue », mais aussi du passage à l’âge adulte pour les jeunes hommes qui achètent leur premier véhicule.

La maison Versace ressemble de plus en plus à une maison bien huilée. Outre son sens cohérent et impeccable de la mode, la marque possède un secteur de parfumerie florissant, qui rapporte plus de 350 millions d’euros par an de chiffre d’affaire. Ainsi qu’une ligne de lunettes avec des recettes dépassant les 100 millions.

La défilé intervient neuf mois après que la famille a vendu la maison pour 2,1 milliards de dollars à Capri, le nouveau groupe américain du luxe qui a bâti sa fortune avec Michael Kors.

Logiquement, si les nouveaux propriétaires et l’équipe que Versace vient d’engager pour la création des accessoires parviennent à proposer une collection de sacs à main qui tombe juste, la maison devrait être promise à une croissance soutenue.

Et si le succès remarquable de Michael Kors avec les sacs à main est un exemple à suivre, l’avenir de Versace sera radieux. Et assurément dans le vent, avec des artistes primés et des stars qui pourront de nouveau se sentir comme chez eux dans la maison à la Méduse.

Dazed – June 15th, 2019

New Wave, 90s rave, and an homage to Keith Flint at Versace SS20

Text Emma Elizabeth Davidson
Photography Christina Fragkou

Donatella presented her latest menswear collection for the Italian fashion house at Milan Fashion Week tonight

It’s Saturday night at the men’s edition of Milan Fashion Week which can only mean one thing: it’s time for Donatella to present her vision for SS20 at Versace (that’s Ver-sah-chay, not Ver-sah-chee, remember?). Didn’t bag a seat on the frow? Don’t panic: we’ve got you covered. Here’s everything you need to know.


…of a v boxy, 90s-esque black sports car, from which hundreds of pink and white flowers had piled out of the doors and on to the floor. The catwalk itself was pale pink and polished to a high shine. So far, so glam.


Obvs. Though officially this was a menswear show, Donatella’s gang of Versace girls was out in force, with Irina Shayk, Gigi and Bella Hadid, Adut Akech, and Stella Maxwell all making their way round the catwalk.


The first looks out onto the runway drew on the New Wave era, with models wearing cinched leather trenches, severe buttoned up shirts, and classic black ties, before a series of half-and-half black and grey suits followed soon after (can we get Tyler on the phone?). Later, things got more relaxed, as a series of ravey looks appeared, featuring tie-dye t-shirts, bold baroque-print trousers, shirts featuring sports car motifs, and wrap-around sunglasses. Last onto the runway was series of tailored looks, with Bella Hadid wearing perhaps the most 90s look ever: a sparkly blazer with matching bootcut trousers, layered over a triangle bra.


We didn’t necessarily have her down as a huge Prodigy fan, but Donatella seemingly drew inspiration from the band’s iconic frontman (who died earlier this year) this season, with rave classic “Firestarter” appearing on the soundtrack, and models with pink, yellow, and green horned hair all storming down the runway. Flint may be gone, but his influence is in absolutely no way forgotten. – June 18th 2019

Versace’s new menswear collection is inspired by The Prodigy’s Keith Flint

By Sarah Gillard

Donatella Versace has commemorated the late The Prodigy frontman Keith Flint with her latest Spring/Summer menswear collection. This is not the first time that Flint has been associated with the Italian fashion house.

He caused disruption when he performed with his band at Versace’s menswear shows in 2004. With rumours of the artist breaking his leg during rehearsals, the controversial and erotic performance shocked spectators, with Flint licking and simulating oral sex on some audience members.

Donatella Versace celebrated the life of Keith Flint with her latest menswear collection, dedicating the show to the late The Prodigy frontman.
Prodigy’s iconic hit Firestarter was blasted on the Milan catwalk to open the Versace menswear SS2020 runway show, as the models stormed down the catwalk in ‘90s rave inspired leopard print, denim and leather; styled with neon-coloured hair in Flint’s signature double mohawk.

“Versace iconography is embraced through a nod to 1990s culture, paying homage to The Prodigy, the British band accredited to the rave movement” stated the brand’s Twitter account yesterday.

Before the show, Versace said “I dedicate this collection to my old friend. He was disruption… and he performed right here the last time he was in Milan.” That was in 2004, when Flint told journalists “Milan smells of sex and death. I like to bring the ugly to the beauty.”

Keith Flint passed away in his Essex home in March at the age of 49. At his inquest in May, the coroner ruled that suicide had been considered the cause of his death, but an open verdict eventually ruled that there was a lack of evidence.

Last month, his bandmates sent a message to fans encouraging anyone struggling with mental health issues to seek help. “It has been a tough time for everyone over the last few weeks since Keef’s passing,” the band wrote on Instagram. “If you are struggling with depression, addiction or the impact of suicide, please do not suffer in silence… The Prodigy fully support the campaign to improve mental health for all and give it the respect it deserves.”

Business Of Fashion – June 16h, 2019

Stitching Opposites Together at Marni

This collection came across as a commercially astute proposal from the designer, who already proved himself a master of prints. Now we get that he’s also a pretty mean tailor.

MILAN, Italy — Each guest at the Marni show on Saturday was assigned a dot to stand on, like a great big game of Twister, because twisting is what Francesco Risso does best. The role he played on Saturday was wedding planner. He imagined his show as the ceremonial union of Truman Capote and Che Guevara, the mixing of two worlds opposed beyond all comprehension: pretty-boy Capote in the famous photo by Henri Cartier-Bresson, guerilla Guevara in the equally iconic image by Alberto Korda. Risso envisaged Capote abandoning high society refinement to embrace “the jungle of radicalism.” In the baldest fashion terms, this could be reduced to a knit polo shirt vs. a camo jacket. Risso gave us that. But there was a deeper philosophical thread: do we live our convictions, or do we just wear them on our sleeves?

Risso came at that question from a couple of angles. He insisted his position was humanistic, not political, but that was disingenuous. How can you not exercise some political sensibility when you’re touching on the issues Risso addressed in his show? For one thing, it was staged under a cloud of aquatically-lit plastic waste, dutifully collected for months by Marni staffers from roadsides, seasides, any sides where heedless humans dump their shit. The audience was like a group of post-apocalyptic Ariels, submerged under the Sargasso Sea of plastic that chokes the mid-Atlantic. Risso claimed it would be transmuted by artist Judith Hopf after the show. One man’s garbage is another man’s art? It took soundtrackist Frederic Sanchez to create an aural co-relative. He ground together the X-Files theme, a voiceover by William Burroughs, “Rock Lobster” by the B-52’s, and a honking sax-driven thrash by UK punk pioneers the Damned to create a densely textured difference.

What makes London such an enduring presence is its variety of voices. Good, bad or indifferent, there is always a polyglot energy. It’s easy to miss that elsewhere, and that is why Risso is such a welcome addition to the Milan calendar. This Marni collection actually came across as a commercially astute proposal from the designer. He already proved himself a master of prints at Prada, his previous gig. The Fauvist-camo prints here were equally masterful. And now we get that he’s also a pretty mean tailor. There were suits to satisfy Risso’s most cautious customers. So, knowing all that, I was happy to sit back and enjoy the scenario that Francesco Risso, wedding planner for the Capote-Guevara nuptials, was ready to offer me. Some of the models wore Che’s beret, but others had picture hats spun from garbage by artist Shalva Nikvashvili. Leigh Bowery would have loved them. The footwear was equally schizophrenic: oxfords vs. scuffs, cobbled together from the Lord Of Chaos knows which bits and pieces.

Half and half – it is Risso’s design ethos, embodied by all the jackets and trousers that stitched opposites together. The political import of such togetherness was inescapable.