Numéro – 18 septembre 2015

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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.

numéro.com

Document Journal Automne/Hiver 2015

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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.

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Dazed – Aout 2015

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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.

MIU MIU AW09

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).

PRADA AW14

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.

MARTINE SITBON AW97

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.”

COMME DES GARÇONS SS15

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.

dazeddigital.com

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Dazed – July 2015

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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 fashionforum@dazedgroup.com – 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.

dazeddigital.com

Numero – July 2015

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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

www.Numero.com

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Dazed – June 2015

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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’. »
DAVID TUDOR – “PHONEMES” (from THREE WORKS FOR LIVE ELECTRONICS, 1996) (02ʼ07 – 02ʼ35)
« 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. »
ELIANE RADIGUE – “TRANSAMOREM-TRANSAMORTEM” (from TRANSAMOREM-TRANSAMORTEM, 2011) (04ʼ04 – 07ʼ30)
“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.”

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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.”
GHEDALIA TAZARTÈS – “MERCI STÉHANE” (from DIASPORAS TAZARTÈS, 2004) (07ʼ29 – 10ʼ00)
“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.”
ALESSANDRO CORTINI – “FANTASMA MODULAZIONE” (from SONNO, 2014) (08ʼ11 – 12ʼ10)
“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.”
GORDON MUMMA – “MEGATON FOR WM. BURROUGHS” (from ELECTRONIC MUSIC OF THEATRE AND PUBLIC ACTIVITY, 2005) (09ʼ45 – 13ʼ45)
“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. »
LAWRENCE ENGLISH & WERNER DAFELDECKER – “MAPPING PEAKS” (from SHADOW OF THE MONOLITH, 2014) (17ʼ05 – 21ʼ29)
“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.”

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FRANÇOIS BAYLE – “EROS BLEU” (from ARCHIVES GRM LE SON EN NOMBRES, 2004) (21ʼ17 – 23ʼ24)
“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.”
BRUCE GILBERT AND BAW – “THE VOID” (FEAT BRUCE GILBERT, A. DAVID CRAWFORTH, NAOMI SIDERFIN) (from DILUVIAL (FEAT BRUCE GILBERT, A. DAVID CRAWFORTH, NAOMI SIDERFIN), 2013) (22ʼ18 – 25ʼ20)
“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.”
CABARET VOLTAIRE – “HALLUCINATION SEQUENCE” (from JOHNNY YESNO (THE ORIGINAL SOUNDTRACK FROM THE MOTION PICTURE), 1983) (25ʼ21 – 30ʼ06)
“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.”
BILL NELSON – “THE SHADOW GARDEN” (from FROM BRUSSELS WITH LOVE, 1986) (37ʼ10 – 39ʼ43)
“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 ».”

 

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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.”
MARTIN HANNETT & STEVE HOPKINS – “CONCORDE DRONE” (from THE INVISIBLE GIRLS,2015) (41ʼ23 – 43ʼ48)
“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.”
JEAN NEGRONI & PIERRE HENRY – “IL Y EUT DANS LE CIEL UN SILENCE” (from APOCALYPSE DE JEAN, 1999) (43ʼ40 – 46ʼ09)
“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.”
DIAMANDA GALAS – “DELIVER ME FROM MINE ENEMIES” (from THE DIVINE PUNISHMENT & SAINT OF THE PIT, 1988) (45ʼ03 – 47ʼ11)
“Derek Jarman used this music for his movie “The Last of England ”: a beautiful moment with Tilda Swinton.”

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SCOTT WALKER – “THE DARKEST FOREST” (from POLA X (ORGINAL SOUNDTRACK FROM THE MOTION PICTURE, 1999) (47ʼ10 – 49ʼ55)
“After the release of his masterpiece Tilt Scott Walker did this collaboration with the French director Leos Carax.”
ASH RAM TEMPLE – “SILENCE SAUVAGE“ (from LE BERCEAU DE CRISTAL (ORIGINAL SOUNDTRACK FROM THE MOTION PICTURE, 1976) (49ʼ33 – 52ʼ03)
« Very poetic soundtrack from the Philippe Garrel movie starring Nico, Anita Pallenberg, Dominique Sanda, Pierre Clementi. »
EDGAR FROESE – “THE 31ST FLOOR” (from KAMIKAZE 1989 (ORIGINAL SOUNDTRACK FROM THE MOTION PICTURE, 1982) (51ʼ27 – 53ʼ46)
“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. »
JOHN CALE – “RISE, SAM AND RIMSKY KORSAKOV” (from MUSIC FOR A NEW SOCIETY, 1982) (54ʼ32 – 56ʼ45)
“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.”

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www.dazeddigital.com

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

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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. »

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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. »

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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… »

 

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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

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

FS-Playlist01

John Cale – Risé, Sam and Rimsky-Korsakov

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Robert Ashley – The Park (Part 1)

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The Stranglers – La Folie (Album Edit)

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Max Richter – Iconography

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Vogue Collections Automne Hiver 2015-2016

Frederic-Vogue-2015-2016
Par PIERRE GROPPO. Photographe JONAS UNGER.

SOUND MAN
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

Dazed-CommeDesGarcons-April2015
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.

dazeddigital.com

Frédéric Sanchez – Style.com – March 2015

Style.com Fall 2015 Interviewprada-f

Fashion Month Behind the Music: A Conversation with Frédéric Sanchez Style.com

“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.”

style.com

Thomas Tait – Style.com – 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.

style.com

Thomas Tait AW15 – Dazed.com – 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.

dazeddigital.com

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 (http://www.dazeddigital.com/womenswear), weʼve sifted through every runway soundtrack to bring you the season’s finest. Headphones in, let’s go.

dazeddigital.com

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.

dazeddigital.com

Marni – Style.com – March 2015

Marni Women Fall 2015 Style.com

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.

Style.com

Jil Sander – Style.com – February 2015

Jil Sander Women Fall 2015 Style.com

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.

style.com

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.

dazeddigital.com

Comme des Garçons – Style.com – 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.

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Style.com – Prada – Janvier 2015

Prada Men Fall 2015 Style.com

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.

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Style.com – 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.

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Interview Allemand Décembre 2014

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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

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Les siestes électroniques Juillet 2014

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Les Inrocks

Libération

VOGUE.FR 18 juillet 2014

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