January 24th, 2014Par Michel Gaubert dans show-insider. (Dernière mise à jour : January 24th, 2014)
Sébastien Tellier composes and interprets music like one would for a film.
"La Ritournelle" and "l'Amour Naissant" are hymns that are both resounding and completely evocative.
From the first sketches of the collection and the fashion show, Karl Lagerfeld wanted an intimist club and a performance to highlight the collection. It was together, with Karl Lagerfeld and Virgine Viard, that we thought of Sebastien Tellier to illustrate this chapter in the life of Chanel.
Photo by Anne Combaz
December 11th, 2013Par Michel Gaubert (Dernière mise à jour : December 13th, 2013)
1. Johnny Greenwood "Open Spaces"
(Ost There Will Be Blood)
2. Dinos Chapman "Luftbobler"
(Trevor Jackson Remix)
3. David Bowie "Love Is Lost"
(Hello Steve Reich Mix By James Murphy)
4. Ennio Morricone "The Ecstasy of Gold"
(Ost The Good, The Bad And The Ugly)
October 10th, 2013Par Michel Gaubert dans show-insider. (Dernière mise à jour : January 16th, 2014)
1. The Terraformers "Evil Beast" (People In The Way) (Clark Remix)
2. Jay-Z "Picasso Baby"
3. De La Soul "Shopping Bags"
4. De La Soul "De La Orgee"
5. Janelle Monae "Q.U.E.E.N." (Prince remix)
6. Morton Subotnick "A Sky Of Cloudless Sulphur: Dance"
October 5th, 2012Par Michel Gaubert dans show-insider. (Dernière mise à jour : October 6th, 2013)
1. "Tick Of The Clock"
3. "I Want Your Love"
4. "Running Up That Hill"
5. "Kill For Love"
Photo © Delphine Achard
July 5th, 2012Par Michel Gaubert dans show-insider. (Dernière mise à jour : July 6th, 2013)
Fall-Winter 2012/13 Haute Couture
1. Hercules And Love Affair "Be With You"
2. Joakim "Labyrinth" (Club Mix)
3. The Rapture "In The Grace Of Your Love" (Pional Remix)
October 18th, 2011Par Michel Gaubert dans show-insider. (Dernière mise à jour : September 11th, 2013)
As she transitioned into her next song at the intimate after-party gig, Florence Welch spoke softly into the microphone, “It’s incredible: Karl and I met this summer for a photoshoot, he told me about the runway show in October, his inspiration and the all-white underwater decor, and he said, ‘You should come and perform at the show’. I never thought it would happen, and I certainly didn’t imagine that I’d be standing singing in a white seashell in front of 2500 people."
"What The Water Gave Me" just so happens to be the name of a hit track on the new Florence and the Machine album to be released in late October. As far as Karl Lagerfeld was concerned, this coincidence was reason enough for him to style himself a modern-day Lohengrin and set the tone for the show’s soundtrack.
Florence performed as the closing styles paraded across the runway. With her incomparable voice, there was no question of preceding her act with another singer. The music was instead conceived as an integral part of the collection, complementing the idea of an imaginary underwater world, graphic styles and aquatic colors, bodies dripping with pearls and faces softened by the wet-look hairstyles of models gliding across under-the-sea decor that seemed to belong on some strange unfamiliar planet.
Although we will never know the true mermaid’s song, and haven’t really tried to know it, the build-up to the show was marked by a yearning for mythology. Hence the eclectic selection of electronic and orchestral renditions of Wagnerian works: Ride of the Valkyries (subtitled "nervous") was heard in a version by experimental musician Curd Duca, and in a more classical interpretation by Herbert Von Karajan and the Berlin Philharmonic Orchestra. But the Grand Palais is no concert hall. A runway show needs a certain energy, which is why an album by Gui Borratto, an electronic music producer from Sao Paulo, was chosen to provide the rhythmic backdrop for this ostensibly unnatural marriage that came together like a match made in heaven. A flurry of harp glissando – resurrected from an old B52’s CD! – announced Florence’s emergence from a giant gleaming seashell like a true Lorelei, her voice and hair charming the spectators and putting a spring in the step of the models.
The soundtrack was produced exclusively for the Grand Palais show, thus preserving the magic of the moment.
Photo © Olivier Saillant
October 18th, 2011Par Michel Gaubert dans show-insider. (Dernière mise à jour : October 19th, 2012)
Spring-Summer 2012 Ready-to-Wear
1. Curd Duca "Nervous Ride Of The Valkyrie"
2. Plastikman "Snares"
3. Gui Boratto "Strike"
4. Gui Boratto "The Drill"
5. Richard Wagner "Tristan Und Isolde Opera, Wwv 90 Prelude"
6. Richard Wagner "Tristan Und Isolde Opera Wwv 90 Liebestod"
7. Curd Duca "Whistle Tannhauser"
8. Plastikman "Rides And Snares"
9. Florence and the Machine "What The Water Gave Me"
January 13th, 2011Par Michel Gaubert dans the-places. (Dernière mise à jour : September 4th, 2012)
Artist: Maxence Cyrin
Title: Behind The Wheel (Depeche Mode) (Written by Martin Gore)
Album: Modern Rhapsodies
After the traditional Passeggieta, a leisurely stroll through the world of Chanel - doll houses, Haute Couture gowns compressed under sheets of Plexiglas, a peek into the pocket of a 2.55 bag - the guests at Palazzo Morando were treated to a performance by the pianist Maxence Cyrin.
Having always been fascinated by electronic music and pop music in general, Maxence Cyrin gives these piano melodies a very personal touch. He has released two albums ‘Modern Rhapsodies’ and ‘Novo Piano’, in which we can discover his interpretation of the favorite tunes that accompany him during his evening strolls.
For Chanel, he swaps his piano for a harpsichord painted in 17th Century style and plays melodies by Depeche Mode, Aphex Twin, Blur, Daft Punk, Pixies and Britney Spears… a mixture of different centuries that perfectly sees out the decade.
October 20th, 2010Par Michel Gaubert dans show-insider. (Dernière mise à jour : September 12th, 2013)
JARDIN D'EDEN - THOMAS ROUSSEL
It all started with a wisecrack made by Karl Lagerfeld in the Chanel Studio in July this year.
While we were talking about the October fashion show, a French-style garden setting in the Grand Palais and Last Year at Marienbad as inspiration for the collection, Karl was wondering what we should do for music. He was quick to come up with the idea of a philarmonic orchestra.
It was quite an idea since we had to get an orchestra of 80 musicians to play bang in the centre of the Grand Palais, a magical location by all standards whose accoustics are not its best feature.
Thomas Roussel, a young conductor with great ideas, was to be the man for the job; a man of talent who is always a pleasure to work with. During our discussions, we came up with the idea of making a soundtrack that was to be our version of Last Year at Marienbad, as the original score, composed by Francis Seyrig, would have been slightly nerve-racking to present the collection.
We therefore decided to do interpretations of rather well-known pop culture tracks, hinting at the audience without revealing too much from the first keys. We focused on two tracks by Bjork, ‘Isobel’ and ‘Bachelorette’, as they already are like mini-symphonies of their own with elaborate string arrangements that we mixed with a cult theme from John Barry and Thomas' exclusive composition ‘Jardin d'Eden’ before closing with the sweeping violin crescendos of ‘Bittersweet Symphony’ a track made famous by The Verve when in fact they borrowed it from the Rolling Stones when it was called ‘The Last Time’.
For two months, we swapped sounds back and forth. Thomas wrote his score on his computer, a bit like a pattern maker making his toile, waiting for final approval prior to transcribe the score for each group of instruments.
In total there were to be eight rehearsals to practice the score and adapt it to the fashion show. The first rehearsal was the trickiest because it was held in an outside venue and the musicians from the Lamoureux orchestra discovered for the first time the melodies and arpeggios they will have to fine tune within the next 48 hours. The violins screeched somewhat and the tempo was slightly off. In the beginning it is always like that and Thomas had the situation under control while I was the only one concerned with the sound being offbeat.
The night before the show, the Grand Palais was amazing with the gardens looking like they had always belonged there. Upon Karl's arrival we gave the 'go' to the conductor and the models started walking the gravel alleys in their everyday clothes, their attitude enhanced by the surroundings and the soundtrack that now sounds perfect. It is the most priviledged moment in the process of the making of a show, when all the pieces from the different players come together making Karl's vision a reality. Everything feels fresh and fragile, making the ephemeral desirable forever.
On D-Day, the orchestra walks up to, looking impeccable in their custom made Chanel cardigans, both taken and reserved by the idea of playing more than their part in this unusual production. 5-4-3-2-1 Go!
Time stands still, we hold our breath, we have to do it and do it well, it is a live performance and there is no room for error.
The models dressed in silver tweeds and feathers much loved by Mademoiselle appear from each side of the grand staircase, becoming the protagonists of ‘Next Year at Marienbad’.
Two months of work, nineteen-minutes of show but our emotions will remain engraved in our memories forever.
Thomas Roussel composed ‘Jardin d’Eden’, exclusively for the web broadcast of the fashion show.