Origine du prénom Frédérique (Oeuvres courtes) (French Edition)

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On the catwalk, however, it is very much business as usual. Moving the handwriting of the house forward, she adapted its signature baroque print — usually seen in black and gold — into acidic pastels.

Tailoring, meanwhile, was softened with a less rigid fit on blazers and bootleg jersey trousers — like the ones Versace favours herself. For her part, Versace is showing she intends to keep up her creative side of such expansion. Titled Sicilian Tropical, it featured designers Domenico Dolce and Stefano Gabbana paying homage to their southern Italian roots with fruit-bowl and piastrelle prints.

For the rest of the collection, they went further afield. On it, the collection was an amalgamation of several themes: baroque, pin-ups, polka dot and the s, we were informed. Elsewhere, khaki dominated the look show, appearing in uniform-fresh, box pleated separates. Such expeditions, like those evoked by the khaki section of this show, in the faraway jungle setting conjured voyager vibes which, these days, tend to get talked about in a colonial context rather than recalled in such a way on the runway.

Martin Margiela met Sanchez by chance in and gave him the opportunity to create the soundtrack for his next runway show. The two artists, who are linked through the common medium of sound, blur the lines between the aural and the visual: Anderson through her work across various mediums, and Sanchez by designing the soundtracks for runway shows and art installations.

This fall, Anderson returns to directing with the release of Heart of a Dog. Sanchez and Anderson discuss what it takes to be an artist, how memory affects creative output, and the role of sound and aesthetics in storytelling. And I have some experience with it not a long time ago: Last year I worked on the Prada exhibition Art or Sound, where your work was included.

I organized all the sound for the exhibition. I work a lot with them. I remember for Prada a long time ago you did [your holographic installation] Dal Vivo. He was always listening to the Spanish radio. He was in Paris, but at the same time he was in Spain with the sound. It was at Galerie Serge le Borgne in Paris.

It used the theater technique where I was reading the description of the scene. It was this idea that the person who listens visualizes his own fantasy. For a long time that has really impressed me with your work. The last thing you want to do is have imagery or sound connected to that.

I remember once listening to you [speak] a very long time ago, and you were talking about a story where you were on a plane. That is something so poetic, these kinds of ideas. Is the story leading? Is the picture leading? Is the music leading? How do you tell your story well? You can start using other things in it, but if it starts getting too fancy, just take it out.

With this film, I kept taking music out, I kept taking pictures out, because they got in the way of the story.

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The story is the driver—it drives everything. The sound has this aspect for me. What is very interesting is that I do this work myself, for my personal work, but at the same time what I do for commercial work is not far from that because of its fragments of pictures, fragments of memories that I put together.

I was doing things with sound, but it was not really music. Then, more and more, something appears like fate, you try to keep making it appear. Laurie—Oh, you listened to that? I loved that project for Radio France. But I would never again do an audio diary, because you would have to listen to all of your days over again. I loved making it and I hated editing it.

My thing is to build an environment with the sound. I love that sound forces you to listen in real time, I love that about it. When I do, I have to create images at the same time. But there is always this idea of images somewhere. Laurie—Oh, either way. But guess what, here come all the categories. Generally that has to do with marketing. Experimental electro? Pop electro? Which is kind of ridiculous.

Naturalism and Unbelief in France, 1650–1729

Laurie—I also have a film installation and some music. You go above that. Laurie—Exactly, just carry on and try to make something beautiful, or dark, or disgusting, just something. Just make things! All my work, a lot of my personal work, is about memories. Because a lot of making is trying to remember something, trying to remember it well with all the intensity that it had. In Heart of a Dog, for me, memory was also sound. It was a sound that I had forgotten, the sound in a hospital when I was a kid. I only remembered it through telling a story about myself.

At that point, they just moved all the kids into the same place. Nobody in my family visited me, because they were too busy. So it was very, very scary for me. It was too scary to remember it correctly, so I remembered it in a different way—called repression, as the psychiatrists say.

So in the film I tried to represent that sound through silence. There is a section right after that where there is no sound. I think for me also sound is very connected to true and false memories. Laurie—It will be in the cinema at the end of the month, this August. It will go to festivals. Actually for three or four months it will be out and around and then released in movie theatres.

Is it the beginning of an opera? An installation?


Do you think something might be a beautiful symphony? Or a static sound under a bridge in a park? Or a pop song? This is important for me. The project is about this idea of the traveler and all the voices in the library. I had this idea of the library scene in Wings of Desire by Wim Wenders, all the voices.

Naturalism and Unbelief in France, – by Alan Charles Kors

But the way he used it was so fantastic: he used it as headphone leakage in the scene with a guy on the train. I love hearing how he treats and filters music.

Laurie—Coming right up! Frederic—When Mrs. Prada and I started talking about the collection, we were feeling nostalgic for certain things that we did in the 90s. There was also a hint of the psychedelic. Then, we used an R. I think the only way to create something that resonates is to go deeply into yourself. So very classic songs and very romantic in a way. The obvious thing would have been to use the electronic sounds from Daft Punk to open the show, but we used the song from Donnie Darko, which is a very, very romantic thing.

Then, suddenly, you have that clash with the very strong electronic beat coming in. I feel like they hit the peak of their pop-stardom in the 90s then kind of fell out of favor as the decade came to a close. But, I think a lot of their music sounds really fresh now when you revisit it. Frederic—Yes, yes. And also because the personality of the person that made them, you know? When you think about Michael Stipe or Kurt Cobain, they have become icons.

Prada must be a fantastic person to collaborate with in that case. I feel like intuition is very much a tool she uses to navigate each season. Frederic—I work for Prada all year long, so I am researching all the time for them, but I called them maybe two weeks ago to discuss music for this show.

Origine du prénom Frédérique (Oeuvres courtes) (French Edition)
Origine du prénom Frédérique (Oeuvres courtes) (French Edition)
Origine du prénom Frédérique (Oeuvres courtes) (French Edition)
Origine du prénom Frédérique (Oeuvres courtes) (French Edition)
Origine du prénom Frédérique (Oeuvres courtes) (French Edition)
Origine du prénom Frédérique (Oeuvres courtes) (French Edition)

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