Behind the Music: In conversation with LCF23 Catwalk composer

Please introduce yourself and tell us a bit about what you do.

Hi, my name is Luigino D'Andrea. I am a multi-instrumentalist, specialising in composing and recording bespoke music for visual projects and events. Aside from writing for commissioned projects, I have also written and released two classical themed albums, and one EDM record under the name Stereochaser. I work primarily out of my home studio in Surrey and compose most of my music on a piano.

You describe yourself as a composer, producer, and musician. What does this mean to you?

Having experience across each of these fields simplifies the process, as most parts of a project can be handled in house. I write a piece of music, I hit record, and then I mix it.  I like the flexibility that comes with having my own means to record because ultimately it gives me more control in achieving my desired sound. It also allows me to take on projects with a tighter deadline because I don't need to worry about outsourcing bits and pieces that I can do myself. Sometimes I do need to get things recorded elsewhere, and having an understanding of what a musician requires to perform your piece for you comes from spending time developing your skills in these three areas. They're certainly not essential but can help tremendously.

For the electronic parts, I created my own sounds, again by playing synthesisers through various pedals and pieces of hardware. I added weight to various sections by playing guitar and piano over the top, sometimes improvising. The final arrangement includes over 100 layers of music and sound.

In many ways the music feels like a direct accompaniment to the different collections. What themes and ideas did you intend to convey throughout?

I believe that there is a strong connection between music and fashion in the sense that there are things you can describe with music that can't be described with words.

Another designer created a collection based on artefacts that they feel have been interfered with by humans, exploring the relationship between craft and technology. With this collection in mind, I wrote parts for the cello and violin because these instruments are very much living and breathing in the way they are expressively played. Over the top, I created melodies with instruments that were warped, digitalised and distorted. The end result was a contrast in sound which I felt mirrored the collections' contrast between nature and technology.

The music takes the listener on a unique journey, similar to a cinematic score or game soundtrack. How does storytelling influence your compositions?

Storytelling is a huge part of what I do, especially when it comes to writing music for catwalks. Just like any good story, if you want to keep people interested - it needs to flow and have movement. There must be contrasting high and low points in dynamics, emotion and power. Whether it's a gritty bassline I've played on a synth or a dreamlike phrase I wrote on a piano or for violin, it all needs to have a purpose and a place in the overall story.  The recurring theme I wrote for two cellos in LCF23 is answered by similar phrases which I played on the vintage synthesisers later on, and slowly they become one with each other and eventually play at the same time. So, in a sense, these instruments are all just different characters interacting with one another.

What are the important things to consider when making music for catwalks?

First and foremost, I need to shift my mindset away from creating a "normal" structured piece of music. If I am writing a pop or electronic dance track, I know l need a verse / chorus and one big hook. If I am writing a short piece for an advert to sell a product, my main theme needs to peak much faster for maximum engagement. With a catwalk, my theme needs to develop and grow over a much larger scale of time.

Another consideration is to remember that the music is there to compliment the work of the designer. Tempo is the driving force for this because it can dictate energy and confidence to the model who then conveys it to the audience with their presence. This doesn't mean that everything needs to be strictly "on the grid" when you're mixing your session, but the foundation of your mix should be absolutely rock solid so that the lead parts can be fluid and move freely over the top.