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In the dynamic realm of fashion, where visual spectacles often dominate, the role of auditory elements is increasingly recognized as pivotal in shaping the narrative and emotional landscape of runway shows. Beyond elaborate sets and sartorial creations, sound design acts as a powerful, yet frequently overlooked, force that deeply influences how an audience perceives and connects with a collection. This report delves into how prominent figures in the industry are meticulously crafting soundscapes to elevate the runway experience, making it more immersive and resonant for a global viewership.

The Evolving Symphony of Fashion: Crafting Auditory Experiences for the Runway

The contemporary fashion show transcends a mere display of garments; it is a meticulously orchestrated event where every detail contributes to a cohesive artistic statement. Amidst the grandeur of the stage and the intricate designs, the often-understated power of sound has become an indispensable component in completing a designer's vision. Figures like renowned sound director Michel Gaubert, whose journey began in Parisian indie record stores and led him to sculpt the sonic identities for countless luxury brands, exemplify this critical evolution. Gaubert's work, ranging from the provocatively playful soundtrack for Chanel's Spring/Summer 1995 collection to subtler mood-setting compositions, highlights how music can both define and subvert expectations, offering a nuanced layer to the traditional ideas of glamour. His selection of tracks, including the unexpected 'Short Dick Man (Club Mix)', underscored Karl Lagerfeld's characteristic wit, demonstrating sound's capacity to inject personality and an element of surprise into a show.

Today, with the widespread availability of livestreams across platforms like TikTok, Instagram, and YouTube, runway shows are no longer exclusive, whispered-about affairs. This digital accessibility amplifies the importance of a compelling soundtrack, as it directly shapes the tone and atmosphere for a vast, real-time audience. A prime illustration of this is Burberry’s Spring/Summer 2026 presentation. Paying homage to its Glastonbury-inspired roots and the late Ozzy Osbourne, the show exclusively featured Black Sabbath tracks. This bold choice not only set a distinct tone but also signaled a subtle yet significant aesthetic shift for Chief Creative Officer Daniel Lee, distinguishing it from the more refined styles of previous seasons.

According to Damien Quintard, co-founder of Miraval Studios, the goal is to create a 'safe space' that allows individuals, whether viewing online or in person, to interpret and express their own emotions. He draws a parallel to classical music, where a single Tchaikovsky symphony can evoke varied feelings of happiness, sorrow, love, or heartbreak among different listeners. This philosophy guided his collaboration with Pierpaolo Piccioli for Balenciaga's debut collection. Quintard and his team at Miraval Studios crafted a unique 'sonic couture' score that incorporated Piccioli's own heartbeat, reflecting the collection’s deeply personal theme. This intricate composition, requiring significant resources and innovative recording techniques, was then layered with renditions of beloved songs like Lauryn Hill's 'Can't Take My Eyes Off of You' and Raye's 'I'm Feeling Good'—notably, Nina Simone’s music made a second appearance that season.

The Spring/Summer 2026 season further showcased sound as a crucial tool for introducing designers’ visions. Louise Trotter enlisted Academy Award winner Steve McQueen, who contributed a composition titled '66–76', interweaving Nina Simone's and David Bowie's versions of 'Wild Is the Wind'. This operatic piece dramatically heightened the emotional impact of Trotter's inaugural collection, marking her as the first woman to lead the brand. Similarly, for his co-ed ready-to-wear debut at Maison Margiela, Glenn Martens employed an orchestra of 61 young musicians, some just beginning their musical education, from Romilly-sur-Seine. Their intentionally cacophonous renditions of Tchaikovsky’s 'Le Lac des Cygnes' and Beethoven’s 'Sonate pour piano no. 14' created a deliberate link between Martens's penchant for subversion and the Maison Margiela archives, echoing past shows that featured local schoolchildren and live orchestras.

Ultimately, sound has become a transcendent force in runway presentations, welcoming audiences into the designer's fantasy more intimately than ever before. Even if the tactile experience of fabric or the intricate details of a thousand appliqués are lost in translation, the live video and accompanying soundtrack allow viewers to fully immerse themselves in the artistic narrative. As Quintard eloquently states, there is a profound similarity between crafting a sonic masterpiece and designing a couture garment: both demand an obsessive attention to intricate details that, while perhaps not immediately apparent, reveal their depth and artistry upon closer inspection, making the experience truly unforgettable.

This evolving integration of sound in fashion shows represents a profound shift in how designers communicate their artistic vision. It highlights a move towards multi-sensory experiences, where the auditory component is no longer a background element but an active participant in storytelling. This approach not only enriches the audience's engagement but also underscores the creative potential when diverse artistic disciplines converge. For designers, it offers a richer palette for expression; for the audience, a deeper, more emotional connection to the world of fashion.