{"id":445055,"date":"2014-07-13T20:02:58","date_gmt":"2014-07-13T18:02:58","guid":{"rendered":"https:\/\/dev.elorainweb.com\/?p=445055"},"modified":"2024-05-12T10:56:37","modified_gmt":"2024-05-12T08:56:37","slug":"another-mag-8-juillet-2014-2","status":"publish","type":"post","link":"https:\/\/fredericsanchez.com\/fredericsanchez\/en\/another-mag-8-juillet-2014-2\/","title":{"rendered":"AnOther Mag 8 juillet 2014"},"content":{"rendered":"
ANOTHERMAG 8 Juillet 2014<\/p>\n

Frederic Sanchez, Show Music MaestroThe Insiders is a column written by Kin Woo, presenting integral, but often hidden figures within the fashion industry
\n\u2014 July 8, 2014 \u2014<\/p>\n

Columns on fashion, culture and ideas<\/p>\n

Frederic Sanchez, Show Music Maestro – Insiders | AnOther<\/p>\n

Frederic Sanchez Photography by Fran\u00e7ois Coquerel<\/p>\n

Insiders talks to the man behind the fashion week soundtrack, producer Frederic Sanchez.<\/p>\n

In the two decades plus he\u2019s spent as oneof the most respected illustrateur sonoreworking today, Fr\u00e9d\u00e9ric 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\u2019A\/W10 show. But his long termcollaborator Miuccia Prada threw him acurveball for her A\/W14 shows \u2013challenging him to work with livemusicians. Says Sanchez, \u201cOur 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 \u2013because at the end, what you could reallyfeel was a take on women very close to theheroines of Rainer Werner Fassbinder.\u201d Sowhile the woodwind concert groupL’Usignolo performed live renditions ofKurt Weill’s music, contrasted with thepounding metal of Rammstein for the men\u2019sshow; at the women\u2019s show (aptly titled\u2018Act II\u2019), German actress (fromFassbinder\u2019s \u2018Lola) Barbara Sukowa sang amedley of Weill songs over a string quartet.It was a suitably cinematic flourish for adesigner who\u2019s never shied away from herfilmic influences: the women stalking therunway becoming noirish and mysteriousfemme fatales straight out of a Fassbinderfilm.<\/p>\n

“When you work in fashionyou have to be very openminded and you need to lookat everything. It has nofrontier” \u2014 Fr\u00e9d\u00e9ric SanchezFor Sanchez, it exemplified everything heloves best about his job: \u201ctelling storieswith sound and music, taking an audienceon a sonic journey.\u201d 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 \u2013Michael Clark would commission Bodymapto design costumes for a dance recital andPeter Saville would team up with YohjiYamamoto in between designing for FactoryRecords. \u201cMy 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.\u201d His firstforay in the field was when a chancemeeting with Martin Margiela led toscoring his very first show in 1988. \u201cWejust hit it off,\u201d he recalls. \u201cAt 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.\u201dComplimenting Margiela\u2019s offbeat approachto making clothes, Sanchez would makesound collages using reel to reel tape, \u201cForme it was an anti-DJ way of making asoundtrack and this became my owntrademark.<\/p>\n

\u201dSince then, he\u2019s cultivated long-runningcollaborations with fashion\u2019s biggest hittersfrom Marc Jacobs, Jil Sander, Givenchy,Helmut Lang and Prada and even extendedhis repertoire outside the realm of fashion \u2013to exhibiting in galleries and devisinginstallations for the likes of the GrandPalais, Mus\u00e9e du Louvre and Herzog & DeMeuron’s Prada store in Aoyama, Tokyo.As different as each designer\u2019s aestheticmight seem, each season always starts witha conversation: \u201cMy 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,\u201d hesays. \u201cI look at the mood boards rather thanthe clothes.\u201d While Sanchez is the masterof a minimal, poetic soundtrack \u2013 \u201calmostlike a perfume, something so subliminalthat the audience might not have noticedbut they would remember the next day ornext month\u201d \u2013 he\u2019s not averse to, saypremiering Britney Spears\u2019 \u2018Work Bitch\u2019 atPrada\u2019s S\/S14 show, synching with Prada\u2019stheme of female empowerment. \u201cI 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.\u201d<\/p>\n

Text by Kin Woo<\/p>\n

Kin Woo writes for Dazed & Confused,
\nAnOther, AnOthermag.com and is a
\ncontributing editor for Dazed Digital. He
\nhas produced films for international artists
\nPhoenix, Patrick Wolf and Lissie Trullie.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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