Thomas Tait AW15 – – February 2015

Thomas Tait AW15  Dazed

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

Initial reaction:

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

What lies beneath:

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

New territories:

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

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

The show soundtracks you did not expect this season - Dazed

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

Miu Miu – Dazed – March 2015

Miu Miu AW15- Dazed

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

Initial reaction:

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

Mixing the decades:

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

Remixing the sounds:

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

Marni – – March 2015

Marni Women Fall 2015

Fall 2015 Ready-to-Wear

March 1, 2015

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

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

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

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

Jil Sander – – February 2015

Jil Sander Women Fall 2015

February 28, 2015

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

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

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

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

Comme des Garçons – Dazed – March 2015

Comme Des Garcon Women Dazed

Initial reaction:

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

Songs of sorrow and longing looks:

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

The aftermath:

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

Comme des Garçons – – March 2015

Comme des Garcon Women Fall 2015

March 7, 2015

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

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

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

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

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

Sorry, this entry is only available in French. – Prada – January 2015

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

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

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

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

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

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

Damir Doma – Original track for the collection Spring Summer 2015

Interview German December 2014


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

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

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

INTERVIEW: Sie sprechen aus Erfahrung?

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

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

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

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

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

INTERVIEW: Und dann hat Frau Prada alles umgeworfen?

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

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

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

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

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

INTERVIEW: Erzählen Sie.

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

INTERVIEW: Wie ging es dann weiter?

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

INTERVIEW: Seine Tabi Shoes.

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

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

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

INTERVIEW: Sind die Runways 2014 nochi immer so experimentierfreudig?

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

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

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

INTERVIEW: Wie groß ist Ihre Musiksammlung?

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

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

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

INTERVIEW: Wo finden Sie neue Musik?

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

INTERVIEW: Welchen Bandnamen müssen wir uns 2014 unbedingt merken?

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

INTERVIEW: Zu welchen Gelegenheiten hören Sie Musik?

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

INTERVIEW: Wo ist Musik unpassend?

SANCHEZ: In Schwimmbädern.

INTERVIEW: Das kam aber schnell.

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

INTERVIEW: Etwa One More Time, zum Anfeuern?

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

An Other Mag December 2014


Oct 292014

Acne – Creation of the score for the Women’s video show on line
Spring Summer 2015

Oct 292014

Balmain – Creation of the score for the Women’s video show on line
Spring Summer 2015

Les siestes électroniques Juillet 2014


Les Inrocks


VOGUE.FR July 18th 2014


ANOTHERMAG july, 8th 2014
Frederic Sanchez, Show Music Maestro

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

Columns on fashion, culture and ideas

Frederic Sanchez, Show Music Maestro – Insiders | AnOther

Frederic Sanchez Photography by François Coquerel

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

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

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

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

Text by Kin Woo

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

Jun 242014

24/06/2014 FILM-SONORE-15

FILM SONORE 15 13.39



Jun 032014

Creation of the score for the video ” PRADASPHERE” a natural history of Prada
May 2014

VOGUE.FR May 30, 2014




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



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

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

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

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

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

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

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


Anatomy of a Fashion Show

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MADAME FIGARO Janvier 2014

Le son de la mode
par Gabrielle De Montmorin

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

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

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

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


Écouter, assembler, évoquer.


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


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


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


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


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


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


John Cage.


Recherche, montage, visuel.

Oct 252013


Frederic Sanchez The Creator

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

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