The New Sound: Clara 3000

The New Sound: Clara 3000

DJ Clara 3000 lives up to her futuristic moniker, one track at a time.

DJ Clara 3000 lives up to her futuristic moniker, one track at a time.

Photography: Pierre-Ange Carlotti

Text: Devin Barrett

This article originally appears in the pages of V11, on newsstands now. Order your copy at

There’s a new wave of talent shaping Paris’s creative landscape, and Clara Deshayes (a.k.a. DJ Clara 3000) is at the center of this torrent. For decades, venerable couture houses have dictated the fashion capital’s identity. Now, an underground scene is ascending to challenge the traditional fashion paradigm, and Deshayes is scoring the next-gen soundtrack.

This shift in fashion mirrors a change in Parisian nightlife—the scene has traveled to “warehouses on the outskirts of the city and become more music- and youth-oriented,” Deshayes says. “I think it’s more honest. It’s kind of recycling ’80s rave culture, but it’s definitely more lively. Ten years ago, it was not like that.” Deshayes met photographer Pierre-Ange Carlotti in Paris, a friendship that led to her soundtracking her first fashion show, for Simon Porte Jacquemus. “It was very ’80s, electronic, futuristic, French,” she remembers. “Simon always has a vision of a woman, and there is always a story behind the show. Most of the time it surrounds a specific moment in a woman’s life.”

In addition to Jacquemus, Deshayes has DJed numerous runway debuts, including Sanders Lak at Sies Marjan and Demna Gvasalia’s first shows for Vetements and Balenciaga. “For Jacquemus and Vetements, nobody gave a fuck when we started. There was definitely more pressure for Balenciaga,” Deshayes explains of her musical process. Demna’s inaugural show for Balenciaga featured a reworking of “The Garden” by Einstürzende Neubauten. “I recorded all of the violins again,” Deshayes recalls. “We started with just one track and as the show unfolded, more violins came in.”

The dialogue between Deshayes and a designer is crucial for a successful show. “It’s almost like psychology,” she reflects. “I feel like a shrink sometimes. It’s kind of like charming a snake—every designer has a different way of working.” The starting point might be a garment’s lining or a show venue. To wit: Vetements, for whom Deshayes also models, has picked locations like a gay sex club, a Chinese restaurant, and the Gothic Revival American Cathedral in Paris.

Deshayes explains that her generation has found its voice, especially following the November 2015 attacks in Paris, which “created a feeling of urgency. People were not locking themselves in; they were going out more.” A future-looking mindset resulted: “We don’t have any time to waste,” she declares. “We have things to say and we’re going to say them.”



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